Simple Lighting Techniques for Outdoor Portrait Photography

Getting the perfect shot often comes down to lighting, but sometimes, natural light just doesn’t cooperate. Instead of relying solely on what’s available, you can take control and shape the light yourself.

Coming to you from Julia Trotti, this practical video breaks down how to use continuous lighting to enhance your outdoor photos. Trotti starts by explaining the benefits of using artificial lighting in locations where natural light may not be ideal, such as heavily shaded areas or harsh midday sun. By incorporating a light source into your setup, you can control the highlights and shadows on your subject’s face, ensuring they stand out from the background and look more dynamic.

Trotti demonstrates how even subtle adjustments in light placement can make a huge difference. Whether it’s a handheld light to add a soft glow or positioning lights at various angles to create depth, she shows how easy it is to shift the mood and balance of an image. Moving the light closer can emphasize details, while pulling it back spreads a more even illumination. She also touches on adding a backlight to simulate a golden-hour look, even when shooting in the middle of the day. This technique helps separate the subject from the background, adding a professional touch to any scene.

One of the key points Trotti highlights is the flexibility that artificial lighting provides when shooting outdoors. Unlike natural light, which is unpredictable, artificial lighting remains consistent, letting you experiment with different settings and angles without losing quality. This is particularly useful when you want to ensure uniform lighting across a series of shots. She shares a simple trick: place a light source slightly above the subject, angled downwards, to mimic natural sunlight and create soft, flattering shadows.

She then moves into a more complex setup, where she uses multiple lights to add dimension to a flat environment. Trotti positions one light as the primary source on the subject and another to brighten up the background. This helps to create layers in the image, leading the viewer’s eye through the frame. It’s a great way to combat the flatness that often occurs in shaded areas or on cloudy days. You can see how each adjustment to the light intensity and positioning changes the feel of the photograph, making it either more dramatic or softer and more natural.

Trotti encourages experimenting with different lighting scenarios to find what works best for your creative vision. Whether you want to replicate sunlight or create a moody atmosphere, artificial lighting gives you the tools to do so. Check out the video above for the full rundown from Trotti.

If you would like to continue learning about how to light a portrait, be sure to check out "Illuminating The Face: Lighting for Headshots and Portraits With Peter Hurley!"

Alex Cooke's picture

Alex Cooke is a Cleveland-based portrait, events, and landscape photographer. He holds an M.S. in Applied Mathematics and a doctorate in Music Composition. He is also an avid equestrian.

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7 Comments

Thank you so much for this article and YouTube video as well was great. I've been a landscape photographer for a long time but I've been just sort of getting into a little bit of portrait photography at the experimental stage and I recently purchased some lighting gear as well, just one light and, looking to learn more so I found this really useful. Great article.

Good video - good article. She uses good techniques. Being a film photographer for so long I would not hand hold when shooting portraits then, but now that seems to work okay. I used to this with flash but since these have decent intensity you can really see what the end result will be.

Stabilisation built into cameras now ...shutter speed is not an issue really

I know. I seldom use a tripod, now. I did find it also slowed me down a bit so that my work was more deliberate.

The problem I found using a tripod was that if you were just out a little bit in your shadows or light you then had to move the tripod where you can quickly move left or right forward or Back much more easily and quickly if you are hand holding the camera and like I said with stabilisation built into the modern mirrors cameras 1/125 pr 1/250 if you're using just normal sync is fine. Even high-speed sync you don't need a tripod.

I agree with you. I guess it's a comfort thing for me. At that time I had no stabilization, only 1 ISO, and a slow sync speed. I didn't get into digital until the end of my 32 years of professional film photography. For me a tripod is almost like muscle memory. I don't miss film much because of the 14 years in the middle of all that when I ran a large lab at a college for staff and faculty (no student work). I do enjoy digital for many reasons and yes, the stabilization still amazes me. I'm 71 so I'm retired now.

Keep taking photos, mate.