Here goes...

It's been a long time since I even thought I had something worthy of the panel's time.  Hopefully this one is...  I have posted other images from this session in the boards and applied some of what I learned there, so let me have it.  Help me take it to the next level next time.

Thanks

Ed, what is the rule for a main light catch light in the eyes?

Hi Mike!

Determining the position of the main light requires observation of a few landmarks of the face- not only the catch-lights.  The function of the main light, in portraiture, is to create dimensionality, separate the planes of the face and provide corrective lighting patterns to flatter the subject.  Of course there are many shapes, sizes and structure of faces and many classic and new age lighting patterns. 

Many photographers feel that the proper rendition of the eyes is a very important aspect of successful portraiture.  One very common mistake among portrait photographers is “dead eyes” or raccoon eyes” this is an affect which occurs when the main light is too high and washes over the mask of the face but leaves the eyes and the eyes sockets obscured in shadow.  The underexposure that exists in those shadowed areas causes a lack of shadow detail in the eyes which takes away the sparkle and rich colors in the eyes and the tiny sharp catch-lights are therefore missing thereby taking the twinkle or intensity out of the eyes as well. If the eyes are deeply set, this worsens the affect and creates the impression that the entire orbital area of the face is blackened as of injured or the eyes look as if they are surrounded by dark rings like those of raccoons.

On indication that the main light is in the right place is when the catch-light are located in the 11 o’clock or 1 o’clock position in the eyes depending on the direction from which the main light is coming.  There are, however, certain compromises such as when the subject is wearing brimmed hat and the main light has to be lowered to come in under the brim.  In cases like that the catch-lights may end up in the 10 or 2 o’clock positions. 

The catch-lights themselves, however, don’t tell the whole story- we must look at the shadow projected from the nose on to the upper lip or cheek areas of the face.  In order to achieve a desired lighting on the rest of the face, again compromises need to be made.  By moving the main light around vertically, laterally and by feathering, usually a good balance will occur as you are observing the effects on the face.

Sometimes secondary catch-light will show in the eyes- reflections from fill or kicker lights.  It is traditional to remove them by hand spotting or cloning the out in PhotoShop. The idea of that is part of maintaining a unity of lighting.  We want the catch-lights to reinforce the feeling that there is only one light source coming in from one direction.  Dead center catch-lights give the eyes a manic look and 4 catch-lights caused by light coming in from below as well as above the subject are very distracting.

I hope this helps!  Ed