People often ask what lights I use. Most days the honest answer is: one window. Our studio faces north, so the light is soft and steady from morning until late afternoon — no direct sun, no harsh shadows, just a big, even source that changes character depending on where you stand.
Over the years I’ve settled on five positions. Same window, same person, same lens — five different photographs. Here’s how each one works and when I reach for it.
Facing the window
Flat, wrap-around light. Skin looks smooth, eyes get a big clean catchlight. The safest start for anyone nervous in front of the camera.
Window at 45°
Classic Rembrandt light: one side bright, a small triangle on the shadow cheek. My favourite for character portraits.
Side light
Turn 90° and the face splits in two. Dramatic, sculpted, great for black & white and for people with strong features.
You don’t need more light. You need to know where to stand in the light you already have.
Back to the window
Rim light on the hair, soft glow around the shoulders. Expose for the face and let the window burn out.
Through a curtain
A white voile turns harsh noon sun into a giant softbox. Low contrast, dreamy and very forgiving.
Setup notes
| Camera | Full-frame mirrorless |
|---|---|
| Lens | 85mm ƒ/1.2 |
| Aperture | ƒ/2 – ƒ/2.8 |
| Shutter | 1/200 s |
| ISO | 200 – 400 |
| Reflector | white foam board, 1 m |
Quick tips
- Turn off every other light in the room — mixed colour temperatures ruin skin tones.
- Move the person, not the camera. Thirty centimetres changes everything.
- Shoot a test frame at each position before the session starts.
- On grey days, open up a stop and enjoy the softest light of the year.
Next time you’re planning a shoot, try all five before reaching for a flash. You might find, like I did, that one window is all you need.
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