Let's have a look at short lighting. Now, short lighting is particularly good if your subject has a broad face, and you want to slim the face down a little bit, or maybe draw attention away from around face or heavy cheeks. So let's go and have a look at that in the virtual studio, see what it looks like and how we would set that up. So here we have short lighting. And as you can see is called short light and because we like the short side of the face. Now, whenever we use short lighting, we're typically going to use it on a two thirds view image.
And then we're going to short light, the the narrow side of the face in terms of which has less width on the screen. So let's have a look. at how we would set that up. As you can see, it's very, very straightforward. In fact, if you look at it carefully, you'll realize the camera and the light are exactly the same as split lighting. So what's changed?
Well, what's changed is the angle of the subjects face. The subjects face is now roughly a 45 degree angle between the camera and the light and looking out of the camera. So when you will start thinking about all the different lighting patterns and how they work, you realize actually this very small variations that move you between different looks. Now this is again, very dramatic and if we add some filter gains during the moment, we're going to ease this off a bit. But it is a really really really simple way of lighting. Now, the subject is always at this angle or in the reverse, obviously, so you might be shooting the other side of the face.
In that case, the subject would be on the left hand side facing to the right. But what you've got is you've got two different options. You can have the eyes looking straightforward. Or you can have the eyes looking back at the camera. Because it's the two thirds view, we should still maintain the white around the eyes. If the subject looks back towards the camera.
What we've done now is we've added some fail, we've lifted the shadow side so that we can see the subject. In real life. I probably lifted more than this. And I would just ease that shadow down a little bit more. But hopefully you can see how it looks when you start to lift it. Now the issue, obviously with This is you're not going to get a lot of light into the left hand eye.
So this is quite a sort of dramatic shot, dramatic pose. And the only really choice you have is if you just lift this the filat up a little bit, just to soften it a little bit more, but you don't want to do it too much because you don't flat lighting you're trying to create an interesting ratio between this side of the face and this side of the face. So let's have a look how we added Phil. As you can see, it's very simple setup, what we've got is we've got flash shooting into a shoot through umbrella, and that is giving us the fill. So again, it's the same sort of degrees and angles and setups. We're just changing one thing every time and it creates all these different types of classic portrait lighting.