So let's have a look at broad lighting. Now broad lighting is the opposite to short lighting, and there is a little bit of a variance in where we would put the light in relation to the subject. It's not a direct copy. So that's very interesting. So let's have a look at how we would set that up. And what that looks like when we've lit the subject.

So here we have broad lighting. Now broad lighting is useful if someone's got a very narrow face because it helps the face fill out. Obviously in this image, we've got the hairbrush back so it's over accentuate and the depth of the broadness is actually lighting, oftentimes you will have the hair hanging over the ear and not tucked back like this. So you've got very broad lighting now that's why it's called broad because it likes the broad side of the face. Obviously, if you wanted to subject to Face the other way, you would just reverse the camera. So let's have a look now and look at how we've set that up and what that looks like.

So as you can see here, we've got our subject is facing 45 degrees away from the light and light is 45 degrees from the camera. And you can see here we're lighting the fourth side of the face. Now we could have moved this to 90 degrees to the subject, but then the wrap wouldn't have been very good around the nose area. And we wanted to get some nice even light across the broad side of the face. As you can see, we've used an ox box again, which we're using on a lot of these portraits where we're getting a little bit of a fill a nice little fill around the subject. And this is really going to help those people that have a narrower face.

So this is a broad lighting now what we want to do is want to add a bit of fill light. So that's what that looks like. So now we've opened that up a little bit more, as you can see, it's just lifted the face and brought the face a little bit more fully into view. So that is what typically we would do with a broad light scenario. We've just soften the shadow on that side of the face. I must admit, I'm not a big fan of broad and short lighting, what I tend to do is I will use broad and short lighting as a fill light.

So I think that's where they're best use when you use short and broad lighting is maybe use them on the fill light that will help us to ease those shadows off while still using lighting patterns like the open loop and closed loop and Rembrandt to create the drama we want to but photographers do use these as standard lighting and you'll also see me use in the film and So it's about personal taste more than anything, I just find it a little bit flat, as like a patent for my own personal use, but I don't discourage you from using it in your own lighting. So, play with it, practice it, look out for it in the movies, look out for in photograph and see how often you get to see these types of lighting. Before we go there, let's just have a look where we've placed that fill.

So here we can see we've got the standard umbrella with a speed light, shooting into the silver reflective umbrella and bouncing back to give us some fill on the side of the subjects face. Now please remember that all the information in relation to the power of the flashes, the position of the lamps, the distances, the camera settings, all those are in the PDF resource that we have for each one of these lighting patterns. download those and those are there for you as well.