{"id":41722,"date":"2017-10-25T14:34:48","date_gmt":"2017-10-25T18:34:48","guid":{"rendered":"https:\/\/neilvn.com\/tangents\/?p=41722"},"modified":"2026-01-29T01:15:53","modified_gmt":"2026-01-29T05:15:53","slug":"headshot-photography-lighting-setups-in-the-studio","status":"publish","type":"post","link":"https:\/\/neilvn.com\/tangents\/headshot-photography-lighting-setups-in-the-studio\/","title":{"rendered":"Headshot photography lighting setups in the studio"},"content":{"rendered":"

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Headshot photography lighting setups in the studio<\/h1>\n

As with most photography, lighting setups and diagrams are more suggestions than absolutes. There are ‘best practices’ that will help you get constantly good results – such as getting enough light on the eyes so there is a twinkle. Okay, call it a catchlight then. Other than a few guidelines, there is a lot of flexibility in the style of lighting, and also the gear used. In the accompanying article,\u00a0headshot photography lighting on location<\/a>, I showed a few examples of how I varied the lighting while out on location. This depended on limitations of the location, as well as requirements of my clients.\u00a0Similarly, in the studio, I change the lighting configuration, depending on what my client would need.<\/p>\n

With this article, I want to show one of the setups I use regularly, and then show an example of where I changed it up for more dramatic results with a client that wanted a more moody look. The point is, we should not be locked in one way of doing it, but be able to improvise a little bit. Similarly, you will notice that the main photo isn’t merely a tight headshot – I included the hands. I don’t particularly like the idea that headshots should just be tightly framed, and that including the hands are a no-no for headshots, and that makes them more a portrait. It’s too sharp a definition for me. If a client wants a half-length shot as well, am I going to refuse?<\/p>\n