PHOTOGRAPHERS

LIGHTING
GUIDE TO

JOEL GRIMES

Joel Grimes 2022 ©

Photographers Guide to Lighting

Master The Light 3

Building Blocks Of Lighting 4

Where to Start 5

Inverse Square Law Made Easy 5

Rembrandt/Cross Light 7

Top-Down Over The Camera Light 10

Edgy Three Light Approach 13

Ultra Soft Three Light Approach 17

Simulating Sunlight 21

Short Light 25

Broad Light 29

Ring Light 33

Spot Light 36
Mastering The Light

1 Definition: My goal as an artist/photographer is to achieve any end

result I envision. Lighting can play such a key ingredient in the whole
creative process, and I believe it is paramount to mastering the
photographic process. Mastering lighting is no different than any other
discipline; it takes a ton of practice and repeating the process over and
over. My goal in creating an image is not to necessarily replicate everyday
real-world lighting conditions but to create the most flattering or, in some
cases, the most dramatic light on my subjects.

2 Disclaimer: This photographer's Guide to Lighting is by no means an

exhausted breakdown of the multitude of different lighting techniques
available to photographers. However, it covers a select set of lighting
techniques that I feel are important to someone new to photography
portraits and needs a starting point. When it comes to learning lighting,
one thing you will discover is there can be multiple terms that describe
the same thing. For example, Short light can be referred to as Edge Light or
Rembrandt Light can be referred to as Cross Light. What name or term you
attached to a particular lighting technique is not as important as achieving
the outcome of the desired end result. Master getting to your end result,
not the glossary of terms.

You Are An Artist:

3 The single biggest asset you possess as an artist is
working from your intuition. You have been making millions of decisions
your whole life; why question your intuition now? Our uniqueness is what
separates us from others. Stick with what feels right to you and take the
risk of being criticized. Your intuition may lead you down a path that will
ruffle a few feathers but don’t give in to the critics; there’s one around
every corner.

4 Objective: The purpose of this quick guide is to give you a go-to

reference to check occasionally to keep you familiar with a few go-to
lighting techniques and ideas. With time, you can subconsciously dive in
and start creating without hesitation. Like anything else, the more you
make mistakes and practice, the better you will get. Set a goal of getting
a subject in front of your lens as often as possible. At 65 years old, I am
still setting up test shoots and seeking to learn something new every time
I go through the process.
The building Blocks of Lighting
Here are four essential building blocks to understanding lighting. Used
in conjunction, you can replicate or emulate any lighting scenario on the
planet. You can also master lighting without plotting lighting ratios,
calculating mathematical fractions, memorizing the glossary of lighting
terms, or using a flash meter or histogram.

1 Source: The source is anything that admits or reflects light. It can be a

modifier such as a Softbox, umbrella, beauty dish, etc., or the sun, a wall,
or flat reflecting light. In the real world, we generally have a multitude of
lighting influences coming into the environment around us. The bigger or
smaller the source in relationship to the subject the softer or harsher the
light. The edge of the shadow is a telling indicator of how broad the main
source is to your subject.

2 Distance: Take any light source, move it towards your subject, and it will
soften the light; back it up, and it will harshen the light. If you take a
seven-foot modifier, which you would generally think is a soft source,
back it up 30 feet from your subject, and it will produce a harsh light. The
same goes for a small light source, such as a standard 10-inch reflector.
Place it a foot from your subject, and it will produce a relatively soft light.
As you back up any light source, it will get weaker in value and will also
spread the light over a greater surface.

3 Ambient or Bounce: How much ambient or bounce light you

introduce into any given scene will soften the overall look onto your
subject. Reflector cards or white foam core is often used to fill in the
shadows, flattening the harshness onto your subject. Dragging your shutter
speed for longer times will allow the ambient to fill in the shadow as well.
There is a limit to how slow you can go with your shutter before you risk
having the subject move or introduce camera shake if you are hand-
holding. One technique I currently use is introducing a large modifier into
my scene to soften or flatten the overall look.

4 Direction: The direction of your light can not be measured but observed.
No flash-meter or technical instrument will aid you in where to place your
light. The secret is in the shadows. Watch where your shadows fall, and
make adjustments accordingly. It takes years observing the masters and
creating thousands of portraits before it becomes second nature. If you
have a modifier two feet from your subject, moving it a few inches can
have a dramatic effect, whereas a modifier ten feet from your subject,
moved three inches, has little to no impact on the overall scene.
 Where to Start

If you are new to photographing Rembrandt Cross Light is the most

portraits and learning to work with beautiful classic lighting on the planet.
strobes and modifiers, it can be a bit Master painters have used it for over
overwhelming where to start. As a 500 years, and it will never go out of
general observation, I look at it this style. With time you can add an edge
way: the light we view people in the or Short Light on the opposite side of
everyday world is not very flattering. your primary source to add a bit of
So if you are trying to replicate the drama.
natural world around you, you won't
get too many people to hire you to Over the camera, Clamshell or Top-
take their portrait. My goal is to Down Lighting can be a beautiful
master the light to where I can make a flattering portrait approach. Often I
living with my camera and have my use a Beauty Dish or a 24 to 36-inch
subjects say, "that's the best image source right over the camera. The term
anyone has ever taken of me." Clamshell indicates using a reflector or
bounce source below the camera to fill
One of the statements that makes me in the subject's face and chin's shadow
chuckle is when I hear someone say, or underside. This is an excellent
"unless you are a Natural Light approach to beauty headshots or
photographer, you're not a purist or a images where you what to hide as
true artist." Generally, this is someone many flaws as possible. With time you
who knows nothing about using can add an edge light or two coming
strobes and is a cop-out. To be a from the sides to build ultra drama. I
successful "Natural Light" shooter, you used this approach for years with my
still have to understand lighting and sports and character-driven subjects.
make your subjects look amazing. I
love the idea of using Natural Light, Rembrandt Cross light simulates
but mastering light using strobe gives window light or outdoors in the field,
me a better chance of making a living early-to-late light, when the sun is low
with my camera and outperforming on the horizon. Crosslight creates a
my competition. light-to-shadow effect on the face
giving a greater sense of depth. These
For years I struggled to figure out two lighting approaches work well
lighting, so if you are frustrated, you because you are emulating two lighting
are not alone. To get started, take just scenarios we find every day in the real
one light, grab a subject (I used my world.
kids, friends, and anyone willing as
subjects), and start playing around. Over the camera light or Top-Down
With time, you can add a second lighting simulates a skylight, open
light, and then one day, you will set above the light source, such as
up multiple lights without hesitation. standing in an ally or overcast open
sky. Top-Down light creates a slight
For my approach and creative style to shadow under the eyes, nose, lips, and
creating portraits, I simplify things by chin, building depth.
using two primary lighting techniques
and then modify those two You can build a career by mastering
approaches as needed. If you learn these two lighting techniques or
these two approaches to lighting, you approaches.
can rock the world.

 Inverse Square Law Made Easy

Joel Grimes 2022 ©

We can visually understand the Inverse Square Law as it applies to choosing the correct
modi er without using a mathematical equation. I will keep repeating this one statement, “The
bigger the source (Modi er) in relationship to the subject, the softer or harsher the light.” One day I
was re ecting on this concept and had this revelation that literally rocked my understanding of
lighting and has transformed the way I now choose my modi ers. (Please refer to the two
illustrations above to visually follow along.) 

If you take three different size modi ers, for this example, we use a two, ve, and seven ft. circular-
shaped modi ers. If I place the two ft. modi er, two ft. from the subject, the ve ft. modi er, ve ft.
from the subject, and the seven ft. modi er, seven ft. from the subject, then take a picture with each
scenario starting with the two ft. modi er, then remove it and snap an image with the ve ft.,
remove the ve ft., and then snap a picture with the seven ft. (Keep in mind that you have to adjust
the light output on each modi er to match the correct exposure on the subject.) 

If you were in an environment with a black oor, walls, and ceiling, the light striking the face on your
subject would be the same quality of light in all three scenarios. Mind-blowing! Of course, we don’t
live in an all-black environment, so as you back up a light, the angle of coverage will spread wider,
thus, re ecting or bouncing light back into the subject, causing the overall image to soften. But the
principle is there for us to use as a guide in choosing the size and distance we should place our
light source.

Lastly, one additional phenomenon, as you back up the light from the subject, your background
value will lighten. This can be calculated using the Inverse Square Law, but as a general rule of
thumb, I know I can lighten the background by backing up my lights.  
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Rembrandt/Cross Light

For this image of Elena, I used one Westcott seven foot Octabank camera left. In the place of a seven foot
Octabank you can use Westcott seven foot Umbrella with silver interior with a front diffusion. Make sure you
use the strobe with the bare bulb and push the light as far back on the umbrella post as possible. This helps
spread the light into the umbrella.

Rembrandt/Cross Light is universally The key to mastering Rembrandt/

regarded as the most beautiful light on Cross Light is getting the light to
the planet. I used this approach wrap around the face just enough to
exclusively for over 25 years, catch a hint of light on the opposite
shooting hundreds of National Ad side of the light source to create a
campaigns before I began mixing it triangle shape. Thus the term,
up using more than one light. The Rembrandt Triangle.
photography degree I received from
the University of Arizona gave me Most students are instructed to place
zero instruction or education on the light 45 degrees to the subject,
lighting or the use of strobes and but after shooting over 10,000
light modifiers. However, I believe I portraits, I can tell you by placing the
received something much better, a light 90 degrees to your subject, you
foundation in Art History. gain a greater gradient tonal range of
light, and the best triangle shape on
Yes, learning how the Baroque the shadow side cheek.
Renaissance master painters worked
became my inspiration and To get the perfect placement of your
launching point. This caused me to light source, move the modifier
hack, scratch, and claw my way towards the access of the camera
through learning how to get an end until the light begins to strike the
result. I have learned to have an shadow side of the cheek. You will
attitude of constant experimenting find the perfect spot by moving the
and testing, giving me an open door modifier towards or away from the
to developing my own lighting camera access. Remember that if
personal techniques and your subject moves their head
approaches. towards or away from your modifier,
you will have to make a slight
adjustment.

Joel Grimes 2022 ©

 Rembrandt/Cross Light

Illustration of Rembrandt/Cross Light set up 90 degrees to the cameras and subject.

 Rembrandt/Cross Light

Both these images were shot using the Westcott 7ft. Octabank.

Both these images were shot using a 3x4 foot Soft Box. Joel Grimes 2022 ©

Both these images were shot using the Westcott 7ft. Octabank.

Modi er Options:
For years I used a 3x4 ft. medium Soft Box for all my cross-light portraits. Remember, the bigger the
source in relationship to the subject, the softer the light. So for beauty portraits, I often use a 4x6 ft
Soft Box or a 7 ft Octabank. You can also use two modi ers side by side to create a larger light
source. What brand name you have on the outside of your modi er, has little to do with the quality of
light on your subject.
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 Top-Down Over the Camera Light

For this image of Olympic Gold Medalist Kerron Clement, I used a Westcott 24-inch Beauty Dish. I placed
the modi er 24 inches from him on a boom just over the camera. As a rule of thumb, or what I call a starting
point for an Over the Camera, Top-Down lighting approach, I take the diameter of the modi er and use that
distance from the subject. So a 24-inch modi er at 24 inches, a 36-inch modi er at 36 inches, and so forth.

Soft light that falls from the Top-Down

This is of course a personal
just over the camera can be very preference, but if the shadow is
flattering to your subject. You can too long, encroaching onto the lip,
observe Top-Down light in many I find it distracting. Moving a
scenarios in an everyday modifier such as a 24-inch Beauty
environment. One great example Dish 24 inches from your subject
of this is in a downtown ally, and will enhance or hollow out the
one side is in the shade, and the cheeks, thus the term “Beauty”
other is getting sunlight to strike Dish.
the top of the buildings. By placing
your subject against the shaded Adding fill from below can help
side of the wall, will produce with the shadows under the
gorgeous Top-Down light on your eyebrows, nose, lips, and Chin. If I
subject. am doing a waist-up or full-length
portrait, I will often take two
When simulating this Top-Down or exposures, one with a fill chest
Clamshell Lighting using strobes, I level and one exposure with it out
place the light so that the shadow of the frame. Then in Photoshop, I
under the nose reaches around 1/3 remove the fill using layer masks,
distance from the upper lip. giving me a perfectly filled-in face.

Joel Grimes 2022 ©

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Top-Down Over the Camera Light

Illustration of Top-DownLight set up over the cameras. I normally use a small boom to offset the modi er.
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 Top-Down Over the Camera Light

Joel Grimes 2022 ©

All of these images above were shot using a Westcott Beauty 24 inch Dish.

Modi er Options:
My current go-to modi er for this type of portrait is the Westcott 24-inch Beauty Dish. I was fortunate to be a
part of the development of this modi er. Keep in mind, that the shape of the modifer, has little to do with the
the quality of light to your subject. On occasion I use a Westcott Switch 36-inch Octabank to achieve a softer
look or if I need to back the light up a bit from the subject.
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Edgy Three Light Approach

For this image of Jenifer was one of the rst images I shot using this Edgy Three Light approach. I used two
3x4 soft boxes as my edge lights and one 22 inch Beauty Dish.

This Edgy Three Light Approach is a lighting technique or approach is

perfect way to create drama in your not a realistic representation of the
portraits. It's hard to find a real world. True. This is precisely
technical name for this lighting why I believe it has been a
approach. Around 15 years ago, I successful lighting approach. I have
decided to reinvent myself and take often stated that my goal is NOT to
my lighting skills to the next level. I represent the real world exclusively
took every modifier I could but to blend the real world with the
purchase and just started playing. I touch of fantasy. In truth, no
had never really used a "hair Light" photograph will ever accurately
or "Edge Light" in my portraits, but I represent the real world. It is, at
thought I would do some tests. I also best, an illusion or representation.
purchased a Beauty Dish but had no
idea what to do with it. So out of the In the end, follow your intuition,
blue, I set up two edge lights just off play around with your lights, and
the back sides of my subject and see what comes of it. Then one day,
then placed the Beauty Dish just you will develop a look that will
over the camera. Within a few rock the world.
clicks, I got my edges lights
positioned to strike light across each The key to getting the right blend of
cheek, and I then turned the power mixing the two edge lights with the
down on the Beauty Dish and like over-the-camera light is changing
magic, there it was. I immediately the overhead light's power output
told my wife I had developed a until it fits what you like. For a
lighting look that would change my grungy male sports scenario, I
life. I had no idea how prophetic would down the power of the
that statement was. I soon started overhead light. For a female beauty
grabbing every athlete/sports subject portrait, I would up the power the
I could find, and before long, I was fill in the middle zone to blend the
shooting ad campaigns for some of edges lights. You still need the edge
the biggest brands in the industry. lights to have a slightly higher value
in the overhead light.
Critics often say this Edgy Three

Joel Grimes 2022 ©

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Edgy Three Light Approach

Illustration of Top-DownLight set up over the cameras. I normally use a small boom to offset the modi er.
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 Edgy Three Light Approach

Joel Grimes 2022 ©

All of these images above were shot using two Westcott 3x4 Soft Boxes as my edge lights and one 5 ft.
Octabank as my overhead light.

Modi er Options:
I mix the sizes of my modi ers with different combinations depending on how harsh or soft I want my nal
image. In some cases, I will go as large as a 5 ft. Octabank as my over-the-camera modi er. Once again, this is
worth repeating, the larger the modi er in relationship to the subject, the softer the light. So to produce a
harsher look, you need to back up your modi ers. Use a smaller option if you are limited to how far you can
back up your modi ers. I have three main softbox sizes for my edge lights, 1x2 ft., 2x3 ft., and 3x4 ft. I always
have the grids over my soft box edge slightly to minimize air into my camera lens.
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 Edgy Three Light Approach

Joel Grimes 2022 ©

Both images were shot using two Westcott 3x4 ft. edge lights and One Westcott 24 inch Beauty Dish as my
overheard light.

Modi er Options:
I often get the question about using strip lights as my edge light modi ers. Yes, this is a good option, but as a
general rule, they will be a bit harsher than a standard softbox. It comes down to testing your modi ers to see
how they work with your style of shooting and your vision as an artist. Start using what you have available and
then decide from there.
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 Ultra Soft Three Light Approach

For this image of Jenifer was one of the rst images I shot using this Edgy Three Light approach. I used two 3x4
soft boxes as my edge lights and one 22 inch Beauty Dish.

This Ultra Soft Three Light Approach is a of language or communication.

perfect way to create delicate High Key
portraits. I thought adding this To create an Ultra Soft Three Light
approach, you need to get the
lighting approach as a separate
biggest modifiers available. In this
profile would be important for two
case, I use a 7 ft. Octabank or what I
reasons. First, to illustrate that you
call the poor-mans Octa, the 7 ft.
can mix things up drastically by
silver umbrellas with front diffusion.
changing your modifiers' size.
When using the umbrellas, ensure
Second, for a photograph to be
you back your light as far from the
successful, it has to emotionally
umbrella's center to give the light
impact your viewers. I often use
the widest spread possible. To get
music as an analogy to illustrate
your strobe light to cover as much of
how changing a song from a major
the umbrella as possible, ensure you
chord progression to a minor can
remove the strobe's reflector hood
drastically change the song's overall
and use the strobe with its bare
mood.
bulb.
Photography is no different in that
You will notice that I have not
my job as an artist is to connect to
mentioned using grids for your edge
my views and create something that
lights. As far as I know, they don't
provokes an emotional impact.
exist for any 7 ft. Modifiers. So what
When setting up a shot, ask yourself
about flare into the lens? Well, it
what your end result is. What
does exist, but because your light
emotional hook can you work
source is so large, it actually creates
towards to make your image more
an overall softness that helps add to
successful? It comes down to a form
the overall look of this approach.

Joel Grimes 2022 ©

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Ultra Soft Three Light Approach

Illustration of Ultra Soft Three Light Approach. Does not show the front diffusion.
 Ultra Soft Three Light Approach

Joel Grimes 2022 ©

Both of these images above were shot using a two Westcott 7 ft. Octabanks as my side lights and one 5 ft.
Octabank as my overhead light.

Modi er Options:
To produce the softest light possible, get your biggest modi ers and move them close to your subject. If you don’t
have ultra-large modi ers, you can stack your modi ers side by side. It comes down to spreading or breading the
light as wide and close to your subject as possible. If you have a large scrim or sheet of diffusion, you can project
light through the material and broaden the light.
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Ultra Soft Three Light Approach

Both images were shot using two Westcott 3x4 ft. edge lights and One Westcott 24 inch Beauty Dish as my
overheard light.

Both of these images above were shot using a two Westcott 7 ft. Octabanks as my side lights and one 5 ft.
Octabank as my overhead light.

Joel Grimes 2022 ©

Simulating Sun Light

This image of Olympic Gold Medalist Kerron Clement was created using one light with an 8-inch standard hood
off the side set at 22 ft from my subject. For the ll, I used a white oor and two 4x8 sheets of foam core off
camera left.

Simulating Sun Light can be an smaller and thus harsher, and

excellent option for dramatic but eventually, the angle is overhead
pleasing portraits. As a photographer, and not very flattering. In the real
working with the sun can be a love- world, the sun often bounces off
hate experience. It can be amazing objects like building, mountains,
when the sunlight is diffused, such sand, etc., or with the introduction
as early morning or late afternoon of clouds, or fog, this can help
light, or when you have a slightly soften the light.
overcast day. But it is a nightmare
to work with when that sun is high The key to simulating sunlight in a
on the horizon and very contrasty. I studio environment is relatively
look at working with light as a simple. For starters, you need to
teeter-totter effect. Take a harsh emulate your source to be the same
light on one end of the spectrum size as the sun. I take the standard
and soft light on the other end, and hood that comes with my strobe; in
power one up and the other down this case, the Westcott FJ 400's is 5
to complement each other. inches. Back it up until it
(approximately) is the same size as
Because the sun is generally a very the sun at sunrise or sunset. For me,
harsh source in the real world, you that distance is around 12 feet for
need to find a way to reduce its my subject. If I use an 8-inch hood,
intensity. The first or last light in the that distance is around 22 ft. Then
day is generally softer due to the you need to fill in the overall scene
atmosphere enlarging the sun's to flatten the shadows. I used to use
diameter and defusing it. Also, the foam core off to the opposite side of
direction or angle is low, cutting my main strobe, but I found a better
across your subject. Once the sun and more controlling way to
starts climbing on the horizon, it introduce a large modifier over the
gets camera so that I can dial in the value
of light as needed.

Joel Grimes 2022 ©

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Simulating Sun Light

Illustration of Simulating Sun Light.

 Simulating Sun Light

Joel Grimes 2022 ©

All these images above were created using a One Westcott FJ 400 with the standard 5-inch Hood set at
around 12 ft. From the subject. To ll in the shadows and soften the overall harshness, I used a Westcott 7 ft.
Octabank.

Modi er Options:
If I have a small working space, I will position the strobe light simulating sunlight with an 8-inch re ector at
about 18-22 from my subject. However, If I have a tight space to work with, I use the smaller 5-inch hood
with the Westcott 400 strobe and set the distance to my subjects at around 12 ft. If your standard hood is too
large, you can always cut out a 5-inch hole in black card stock and tape it to the front of your hood.
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 Simulating Sun Light

Joel Grimes 2022 ©

All of these images were created using two Westcott FJ 400 lights. For my main light source, I used the standard
5-inch hood 12 ft from my subject light to simulate the sun. For the overhead light, I used on Westcott 7 ft.
Octabank.

Modi er Options:
The overhead modi er that lls in the shadows is not as critical as you might think. You could use any modi er,
including a large umbrella. You can also take a foam-core at and bounce light into it, lling in the shadows.
Remember our basic building blocks; introducing bounce into the scene will soften the overall feel to your
subject.
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Short Light

This image of Moses was shot using three modi ers, two were the Westcott 3x5 Soft Boxes with grids and a 24
inch Westcott Beauty Dish. For the Short-Side light I increased the value to create a strong edge light and with
the second 3x5 Soft Box I lowered the power output to give a subtle value of light on the back of his head and
neck.

Short Light can be an excellent option Moses above, I still have an edge
for dramatic, edgy portraits. I have light on the back of the head and
already mentioned that the name we neck. But I have powered down the
associate with a particular lighting value to further emphasize the edge
technique is not as crucial as light on the Short-side of the face.
producing a result that meets a
creative artistic end vision. We start How do I know what value to dial in
mudding the process when we to create the correct exposures from
approach lighting from an overly each light? Well, you could use a
technical mindset and forget our more technical approach, plotting
primary goal of creating something this out using lighting ratios and the
that moves our viewers on an aid of a flash meter. (I have not used
emotional level. a light meter during a photo shoot in
over 35 years) Or you could
Short Light, emphasizes the Light approach it with your intuition,
striking the Short-side of the face, emotions, or feelings. This might be
creating a brighter value of light a stretch for someone who leans
than the Broad-side of the face. This toward a more engineer mindset.
can be a variation of the Edgy Three You may lean toward light being
Light approach we have covered plotted, measured, and defined.
earlier by just turning the subject's Please don't take it from me; I would
face to expose the Broad-side, experiment by trying both
letting the edge light highlight the approaches and see which final
Short-side. In the example of outcome you like best. My guess is
the latter will prevail.

Joel Grimes 2022 ©

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Short Light

Illustration of Simulating Short Light.

Short Light

Joel Grimes 2022 ©

The top left image was created using two Westcott FJ 400’s, one in a 3x5 Westcott softbox with grid and one Westcott
7 ft. Octabank over the top of the subject. The other three images were created using my standard EdgeThree Light
approach but tuning up the light striking the Short side of the subject.
 Short Light

Joel Grimes 2022 ©

The image at the top was shot on location. I positioned a small 18x24 softbox on a boom to project through the
front windshield. I then set up one 24-inch Beauty Dish just over the camera to ll in the subject's face. An
added bene t to the side light was it created highlights on the raindrops on the window.

Modi er Options:
Depending on the softness or harshness I want on my subjects. I generally switch between the 24-inch Beauty
dish and the 5 ft for my over-the-camera modi er. Octabank. For my edge lights, I switch between the 1x2 ft.,
2x3 ft., and 3x4 ft. I always have the grids over my soft box edge to minimize air into my camera lens.
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Broad Light

This image of Faith was shot on location using one 24-inch Westcott Beauty Dish. You can see that I placed my
subject so that sun creates a highlight on the short side of the cheek. To achieve the shallow depth of eld, I
used the strobe in High-Speed-Sync mode to allow my shutter speed to reach 1/8000 of a second and set my
aperture to f/1.2.

Broad Light can be an excellent option output of light over the camera.
for character revealing portraits. It is
worth repeating; master Top-Down As you raise your primary Light
Over-The-Camera and Rembrandt/ source, you will begin to create a
Cross Light, and there are an infinite shadow under the chin giving a
number of variations that you can slight depth separating the chin from
mix up to change the overall feel of the neck. With time you will start to
your images. This is why I believe see these subtle nuances that can
having a set-in-stone glossary of enhance or create a more flattering
lighting terms can be dangerous or look. It would be difficult even to
detrimental. Let the glossary of terms guesstimate the number of portraits I
and lighting definitions become a have shot in my 40-year career; tens
starting point for developing your of thousands, no doubt. I always
personal style. watch where the light strikes a
subject and make adjustments as
Broad Light is meant to be less needed. It’s part of the challenge
dramatic than Short Light and is knowing that every subject is created
often used when photographing differently, and my goal is to build
beauty portraits. Broad Light the best possible portrait of any
emphasizes the Light striking the given subject in front of my lens.
Broad-side or the extended or open
side of the face. Generally, the Light Keep in mind that deciding which
is evenly lit from the ear to the end lighting approach you should choose
of the jaw. If I am using the often falls on a personal preference
Rembrandt/Cross light approach, I and what final end mood or feel you
have my subject turn into the main want to achieve. If I struggle with
Light, thus broadening the face line. where to start, I just start the process
The same effect can happen while and let the magic begin. If something
using Top-Down Over-The-Camera isn’t working, I punt and move on to
lighting by increasing the value or another approach.

Joel Grimes 2022 ©

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Broad Light

Illustration of Simulating Broad Light.

Broad Light

Joel Grimes 2022 ©

 Broad Light

Both of these images above were shot using one modi er. For the top image I used a Westcott 36 inch Rapid
box and for the bottom images I used the Westcott 24 inch Beauty Dish.

Modi er Options:
By now you have probably guess that modi ers are just banks of light that come in different sizes and shapes. With
so many options on the market I believe in the end this just confuses the learning process. Lighting is a mystery
but that mystery fade as we learn and apply the basic building blocks of lighting. I would start to three modi ers, a
small circular 24 inch Beauty Dish type for over the camera, a 3x4 Softbox for Rembrandt/Cross light and a 7 ft.
Parabolic silver interior Umbrella with front diffusion.
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Ring Light

This image of Moses was shot using a 18-20 inch Continuous Ring Light in a studio environment. Note the
circular highlights in his eyes.

A Ring Light can add an interesting look However, I have used it at night with
a battery pack at night on location,
to your portraits. I can’t say I have
which has worked out nicely.
done a ton of work using a Ring
Light. But it has a unique look this The second Ring Light I have used is
can make for some compelling a Paul C. Buff strobe flash unit. Your
images. It can smooth out the skin camera mounts directly onto the
and hide any flaws. I have used a Ring Flash, making it a challenge if
Ring Light to fill in shadow and you want to hand hold it. Like with
flatten out the contrast of harsh light. any technique, it comes down to
I have used two types of Ring Lights. experimenting with subjects and
Several years ago, I picked up a seeing what works for you as an
continuous 18-20-inch diameter Ring artist. Often, I take a piece of
Light. I believe they are a dime a equipment and find a way of using it
dozen now, but I was one of the first that may differ from its initial use or
to get my hands on one at the time. what others are doing. As with the
continuous Ring Light, I shot a few
The challenge of using any HDR portraits shooting three images,
continuous light is the ambient light one stop under, normal and one stop
has to be very low, or it will over. I found the skin tones take on a
overpower the effect. smooth, clean look.

Joel Grimes 2022 ©

Ring Light

Ring
Top-Down
Light Over the Camera Light

Illustration of how to place a Ring Light.

Ring Light

Joel Grimes 2022 ©

All four of these images above were created using a 18-20 inch continuous Ring Light in congestion with shooting a
three exposure bracketed HDR.

Modi er Options:
While I was putting this E-Book together, I Googled Continuous/Strobe Ring Light, and several options came up.
For best results, I have found that getting the Ring Light as close to your subject as possible is best. Remember
that you will get a very distinct round highlight in the eyes.
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Spot Light

This image of Daniel was shot using one Westcott Optical Spot and one Westcott 7 ft. Octabank as the
overhead ll light.

A Spot Light can draw your viewers eye to It also includes inserts with various
your subjects face. There is a variety of patterns to project onto your subject
ways to achieve a spotlight on your or surface. I have also similarly used
subject. Over the years, I used tried a the old-school photo snoots, but
variety of methods. One way is to again, you must get the light close to
take a 10-degree grid on a standard your subject to keep the light as
hood, and then, by using black narrow as possible.
gaffers tape, you cover the front grid Lastly, there is one additional
leaving a half-inch slit to allow a technique I have used. The Westcott
narrow band of light to pass through. FJ 400's strobes come with a Masking
It would be best if you got the light Mode that allows you to program the
close to your subject to make this strobe to fire every alternate fame. By
work. setting one light to illuminate the
background that fires every time and
The easiest way to achieve a then having one light that illuminates
controllable spot is by using an the subject but goes off every other
Optical lens. There are a few options frame. By taking two images, one
on the market that will connect to with both the background and the
your existing strobe, but most subject lit, and one with the subject
recently, I have been using the one silhouetted, but only the background
recently released by Westcott. This is lit. Then in Photoshop, using
unit comes with a lens, but you can layers, I can paint or select the area
also use Canon EF mount lenses to on the subject I want to be revealed
give you some additional control. or illuminated. It sounds
complicated, but it is quite simple.

Joel Grimes 2022 ©

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Spot Light

Illustration of how to place a SpotLight.

Spot Light

Joel Grimes 2022 ©

The two top and bottom left images were shot using the double exposure masking technique I explained on the previous
page. It is crucial that you keep your subject as still as possible.

Modi er Options:
To have the most control over the subject, I normally have an additional modifier to fill in light to the overall
scene keep the power value down. For the image of Daniel on the previous page, I used a Westcott 7 ft.
Octabank over high over the camera's top, pointing down to produce a soft topdown light, giving value to the
overall scene. For the Spot, I was able to direct it to his face off camera left. You can adjust the softness of
the Optical Spot by focusing the lens. In this case, I keep the edges as soft as possible.
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 Spot Light

Joel Grimes 2022 ©

The top left image was shot using the Westcott Optical Spot. The other three images were shot using a standard 8
inch hood with a 10% grid taped to leave a 1/2 inch slit to narrow the light.

Modi er Options:
For the white background on the top right and the bottom two images, I used a 7 ft. Octabank placed about one
foot behind the subjects. I normally increases the power on the Octabank until the wrinkles in the fabric
disappear. You have to be careful you don’t set the output on the background light to bright or it will start to create
are into the lens.
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“The single greatest opportunity you have to reach
your goal and rock the world has little to do with
talent. Hard work will outperform talent any day of
the week. Get o the couch, put down the potato
chips, pick up your camera and start practicing.”

For more education materials and content from Joel Grimes, visit to
joelgrimes.com

To see more of Joel Grimes images, visit to

portfolio.joelgrimes.com

Joel Grimes 2022 ©

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