I spent quite a long time doing portrait photography myself. When we take a portrait, it is essential to have good lighting on the face. But what does it mean to light the face well?
We need to see both the shadowed and illuminated areas on the face, and the division between them should be arranged to make the face appear as dimensional, sculptural, and detailed as possible. This approach gives us a portrait photo that is easy to work with afterward. We know that the head is a complex volume, and any volume is defined only through light and shadow.
We need to see both the shadowed and illuminated areas on the face, and the division between them should be arranged to make the face appear as dimensional, sculptural, and detailed as possible. This approach gives us a portrait photo that is easy to work with afterward. We know that the head is a complex volume, and any volume is defined only through light and shadow.
Often, we come across photos where light falls on the face in such a way that we see neither light nor shadow; everything becomes flat and turns into a sort of “pancake,” losing all volume. Portraits should not be made from such photos—they simply won’t work. I always try to avoid these types of photos.
When photographing someone with your phone to later paint their portrait, always pay attention to how and from where the light falls. It is important for light to hit the eyes so that there is a visible catchlight. Without this, the eyes won’t come to life.
The light should be positioned so that both light and shadow are clearly visible on the face. Additionally, the back of the head should be slightly illuminated to create a distinct reflection that is sharp and visible. With such a photo, it becomes very easy and straightforward to work in watercolor.
I also have a free guide with examples of which photos can be used to draw a portrait and which cannot. To receive the file as a gift, leave your contact details and I will send it to you by mail. Leave your contacts