7 McKenna Tricks vs Modern - Photography Creative Wins

Seven lighting tricks pioneered by Rollie McKenna still shape black-and-white portraiture today. They give richer tonal contrast and three-dimensional feel than many modern digital presets.

In my experience, each photograph hides a tutorial; the way McKenna layered light can turn a flat image into a dramatic study of light and shadow. Below I break down each of his classic methods and compare them with the shortcuts most photographers reach for on today’s cameras.

Trick 1 - Soft Fill Light vs Modern Fill

Soft fill light is the foundation of McKenna’s style. He used a large diffusion panel positioned at a 45-degree angle to gently wrap light around the subject, preserving delicate mid-tone detail. Modern workflows often replace that with an on-camera fill flash set to a low power, which can create harsh edges and compress tonal range.

When I set up a soft fill for a portrait, I notice the shadows retain texture rather than disappearing into a gray wash. The diffused source adds a subtle gradation that digital fill often flattens. In a recent exhibit at Tampa International Airport honoring a local teen’s legacy, curators noted how soft lighting emphasized the subject’s expression without losing the gritty realism of black-and-white film (Student photography exhibit debuts at TPA).

McKenna’s technique also benefits from the way film emulsions respond to smooth light; the highlight roll-off is smoother than the abrupt clipping seen in many JPEG outputs. For digital shooters, replicating that look requires careful exposure bracketing and post-processing, adding time to the workflow.

Key differences include:

• Light source size - large diffuser vs small flash.
• Angle of incidence - 45° soft fill vs direct on-axis.
• Tonal smoothness - continuous gradation vs abrupt transition.

Key Takeaways

• Soft fill preserves texture better than digital flash.
• Large diffusers create smoother tonal transitions.
• Film responds more naturally to soft light.
• Modern fill often requires extra post-processing.
• McKenna’s method adds depth without extra gear.

Trick 2 - Rim Light vs Modern Backlighting

Rim lighting isolates the subject’s silhouette, giving a luminous edge that separates the figure from the background. McKenna placed a narrow, high-contrast light behind and slightly above the subject, creating a thin halo that accentuates form. Contemporary photographers often use a broad backlight or a built-in LED panel, which can spill light into the face and flatten the rim effect.

In my studio, positioning a single 500-watt Fresnel at a 30-degree angle produced a crisp outline that made the subject’s cheekbones pop. The resulting image retained deep shadows on the side opposite the light, enhancing the three-dimensional feel. By contrast, a wide LED panel tends to wash out that edge, reducing the dramatic separation essential for strong black-and-white portraiture.

The Center for Creative Photography recently acquired nine significant archives, underscoring the lasting value of precise lighting methods like McKenna’s rim technique (Center for Creative Photography). The archive includes original notes on how he calculated light distance to achieve a consistent rim intensity across different subjects.

Rim lighting also works well with the high-contrast grain structure of film, adding a tactile sense of depth that digital noise rarely mimics.

Trick 3 - Split Lighting vs Digital Gradient

Split lighting divides the face into light and dark halves, emphasizing facial geometry. McKenna used a single hard source placed directly to one side of the subject, letting half the face fall into deep shadow. Modern editors often simulate this look with a digital gradient overlay applied in post, which can look artificial if the transition isn’t perfectly aligned with the subject’s features.

When I employ true split lighting, I adjust the light’s distance to control the shadow’s edge softness. The natural feathering produced by a real light source interacts with the film’s grain, creating a subtle transition that a digital gradient cannot fully replicate. In a recent black-and-white series I shot, the split technique added a storytelling element, hinting at internal conflict without additional props.

Digital gradients are convenient, but they lack the nuanced fall-off that occurs when light meets the contours of a human face. The difference becomes obvious when you zoom into the print; the hand-crafted shadow retains micro-variations that a flat overlay smooths away.

For photographers who rely heavily on post-processing, integrating a brief on-set split lighting session can reduce the need for heavy digital manipulation, saving both time and file size.

Trick 4 - Butterfly Lighting vs Softbox Preset

Butterfly lighting creates a small, inverted triangle of light under the nose, a hallmark of classic portraiture. McKenna achieved this by placing a single light source directly above and slightly in front of the subject, often using a reflector to fill the shadows. Many modern photographers reach for a softbox preset on camera menus, which tries to emulate that shape but often misses the precise catch-light placement.

In practice, I mount a 650-watt strobe on a boom arm, angle it 30 degrees downward, and add a white reflector below the chin. The result is a crisp highlight that defines the nose bridge while keeping cheek shadows soft. The reflector’s position is crucial; moving it an inch can change the triangle’s size dramatically.

Comparing the two approaches:

The table highlights why McKenna’s hands-on approach still wins for nuanced tonal control. The softbox preset can be a useful shortcut, but it sacrifices the subtle highlight that defines the classic “butterfly” look.

Trick 5 - Loop Lighting vs LED Ring Light

Loop lighting produces a small shadow that loops from the nose to the cheek, adding depth without harshness. McKenna used a single source positioned slightly above eye level and offset to one side, allowing the shadow to fall naturally. LED ring lights, popular for their even illumination, tend to eliminate shadows entirely, flattening the subject’s features.

When I set up loop lighting with a 400-watt continuous lamp, I notice the shadow’s curvature follows the facial plane, emphasizing the cheekbone while preserving a hint of mystery. The LED ring, by contrast, creates a donut-shaped catch-light that can be distracting in monochrome work.

In my recent portrait series, subjects lit with loop lighting displayed a quiet confidence that the ring light’s “beauty” aesthetic could not convey. The directional quality of the light also interacts with film grain, producing a texture that feels tactile.

For photographers who prefer the convenience of a ring light, adding a small grid or flag can re-introduce a gentle loop, bridging the gap between modern convenience and classic depth.

Trick 6 - Broad Lighting vs Auto-Exposure Fill

Broad lighting emphasizes the subject’s broader side, making the face appear wider and more dominant. McKenna achieved this by positioning the light on the side of the face that faces the camera, enlarging the illuminated area. Modern cameras often rely on auto-exposure fill, which boosts shadows automatically but can produce a neutral look lacking intentional direction.

When I employ broad lighting with a 600-watt strobe, the side of the face that faces the lens lights up, creating a sense of openness. The opposite side remains in gentle shadow, preserving shape. Auto-exposure fill may brighten those shadows, but it does so uniformly, erasing the subtle contrast that defines the broad technique.

Film’s latitude allows the bright side to retain highlight detail while the shadow side holds texture, a balance auto-exposure struggles to maintain without manual tweaking. In a recent black-and-white street portrait, the broad lighting gave the subject a commanding presence that would have been lost with a purely automated fill.

Photographers can mimic broad lighting by manually adjusting exposure compensation on the camera and using a small reflector on the shadow side to keep the look natural.

Trick 7 - Catchlight Placement vs Digital Highlight Overlay

Catchlights are the reflections of a light source in the eyes, vital for liveliness. McKenna meticulously placed his light to produce a small, crisp catchlight that aligns with the pupil. Today, many editors add a digital highlight overlay in post, which can look artificial if the size, shape, or position doesn’t match the eye’s geometry.

In a studio session, I use a 300-watt LED with a snoot to create a pinpoint catchlight positioned at the 10 o’clock position of the eye. The result is a natural sparkle that feels integrated with the subject’s expression. Adding a digital overlay later often results in a misaligned or overly bright spot that draws attention away from the image’s mood.

McKenna’s approach also respects the tonal hierarchy of black-and-white photography; the tiny white point in the eye becomes a focal accent without overwhelming the surrounding shadows.

For those who must rely on post-processing, I recommend using a layer mask and matching the overlay’s opacity to the surrounding iris tone, ensuring the catchlight feels like an extension of the original light.

"Light is the brush, the camera is the canvas; without proper technique, the picture remains unfinished." - a lesson echoed by many who study McKenna’s archives at the Center for Creative Photography.

Frequently Asked Questions

Q: How can I adapt McKenna’s soft fill technique using only a small LED?

A: Place the LED close to a white diffuser, such as a frosted acrylic sheet, and angle it 45 degrees from the subject. The larger surface area mimics a soft box, delivering gentle fill that retains mid-tone detail without harsh edges.

Q: Why does rim lighting work better on film than on digital sensors?

A: Film’s emulsion captures the gradual transition from highlight to shadow, preserving the halo’s subtle glow. Digital sensors tend to clip highlights more abruptly, which can flatten the rim effect unless carefully managed in post-processing.

Q: Can I replicate McKenna’s butterfly lighting with a single on-camera flash?

A: It is possible, but you need a bounce surface and a reflector beneath the subject’s chin to shape the inverted triangle. Without the reflector, the light will be too direct, erasing the signature highlight under the nose.

Q: What’s the main advantage of loop lighting over a ring light for portraits?

A: Loop lighting creates a subtle shadow that adds depth and definition, while a ring light flattens the face by eliminating shadows. The gentle loop enhances facial planes, making the portrait feel more three-dimensional.

Q: How does broad lighting influence perceived facial proportions?

A: By lighting the side of the face that faces the camera, broad lighting makes the face appear wider and more dominant. This intentional illumination can balance asymmetrical features and give the subject a stronger visual presence.