BASIC SOLUTIONS
The biggest problem with on-camera flash is that your lighting is harsh, often with that “deer in the headlights” look. Throw in some red-eye for good measure and you have the typical snapshot that we’ve all seen and taken.

The simple solution is to move the light off the camera by way of a TTL sync cord or, as in the case of some systems, wireless-flash technology. With the flash off-camera, you not only can reduce the occurrence of red-eye, but also eliminate the flat look of direct flash. By placing the flash at a 45-degree angle to the camera, you can use light to evoke a sense of depth by the creation of contrast between light and shadow.

Utilizing the flash off-camera also allows you the flexibility to diffuse the light by bouncing the light off a reflective surface such as a reflector or white wall. In this way, harsh shadows are eliminated and there’s no glare from direct flash.

For portraits, while I have one flash to one side of the subject’s face, I also use a large piece of white posterboard to reflect light back onto the shadowed side of the subject’s face. The light on the reflected side isn’t as strongly illuminated as the side being lit by flash, so the face has a pleasing dimensional look that would be missing from direct flash.

Using a reflector is effectively like having two different flashes on the subject. It’s often all that’s needed to produce excellent results. If you have access to indirect window light or if you’re shooting outdoors, a reflector is an excellent and simple addition to your kit for portraits.

STUDIO LIGHTING SOLUTIONS
The first decision you need to make with studio lighting is whether to go with flash or continuous lighting. Both have their advantages and drawbacks, and both have a loyal fan base.

Continuous lights are always on, letting you see immediately how your lights’ positioning is affecting the subject. This can be a huge help, allowing you to see hot spots and shadows before taking the photo. On the other hand, many continuous lights are very warm. Your portrait subjects may become overheated when sitting under hot lights, especially if you’re working in a small room.

Popular makers of continuous lights include Photoflex, Starlight kits from JTL, Adorama, Lowel and Britek. This is a great way to go if you prefer continuous light and you’re on a budget. You can often get started with a couple of lights, stands and umbrellas for less than $300.

For the really budget-conscious, take a trip to your local home-improvement store and pick up a set of halogen or quartz work lights. They usually come with a heavy-duty stand and can be positioned. At less than $30, you won’t find a better deal.

Studio flash works very similar to your on-camera flash—it creates its own light only when you take the photo. The big advantage is that studio flash units can produce more light. This provides multiple benefits, including the ability to shoot at moderate to small apertures, even when the strobes are diffused, using an umbrella or softbox. The output of those flashes can also be controlled in fractional increments, such as 1⁄4 or 1⁄2 power, without having to change the position of the strobe as you would with a continuous light source.

This increase in power comes at a price, however; a kit with two lights, stands and umbrellas starts at $500. Some examples include Adorama’s Flashpoint 620 Portrait/Wedding Monolight kit or the JTL DL-400 Dual Monolight Starter kit. And because the light is only produced at the moment of exposure, you’ll need a handheld flash meter to determine the accurate exposure. However, the great flexibility and power may make such a system worth the price of admission.

For starting out, I recommend a two-light kit, although you can do well with a single light and a reflector if you’re on a budget or space is tight. The advantage of buying a kit is that you’ll typically get stands and umbrellas to go with the lights, both of which should be considered standard equipment in any photographer’s setup.

LIGHTING SETUPS
Now that you have your lighting kit, how do you set it up for the best results? Here’s where some experimenting comes into play. Depending on the power of your lights and the size of your location, the setup will vary.

For a two-light setup, position the first light at 45 degrees to the camera and slightly higher than your subject. This is your key or main light. The second flash, which serves as your fill, should be positioned alongside and slightly higher than the camera.

By either varying the distance of the second light or reducing its power output, the second light will produce less illumination than the main light, which is similar to the results you’d achieve using a reflector.

If you place the main light above the camera, you can then position the fill light slightly below the camera to fill in shadow areas around the nose and eyes. I also use umbrellas to diffuse the light over a broader area.

If you have only one light available, a softbox or large umbrella is a great addition. A large softbox of 20 inches or more spreads the light over a broad area, giving a more natural and pleasant look to your portraits. For single-light portraits, set up your light just to the side of the camera or 45 degrees off the lens axis. This spreads the light evenly across the face with a touch of shadow to the nose and eyes. For a flatter look, have your model tilt his or her head slightly and angled toward the light.

Jon Canfield is the author of several books on digital imaging, including RAW 101 and Print Like a Pro. He teaches at BetterPhoto.com.