One of the most common barriers I hear from photographers moving into portrait work is the cost of lighting equipment. They see studio setups with three or four strobes, softboxes, reflectors, and grids, and assume that’s the minimum for professional results. Tony Northrup’s latest video puts that assumption to rest, and he does it with a flash that costs less than most camera straps.

Northrup sets up a single Neewer Flash Q6 — a compact, affordable unit — and proceeds to create portrait after portrait that would hold up in any professional portfolio. The video is practical, well-paced, and packed with specific positioning techniques you can apply immediately.

The Gear: Deliberately Minimal

What makes this video credible is that Northrup isn’t hiding expensive gear off-camera. He’s explicit about the setup: one Neewer Flash Q6, a basic light stand, and a simple shoot-through umbrella. Total cost for the lighting setup is under $150.

He makes the point early that the flash itself matters less than how you position it. The Neewer Q6 is battery-powered, reasonably powerful, and has wireless triggering built in. It’s not the most powerful flash on the market, and it doesn’t need to be. For single-subject portraits at reasonable distances, it has more than enough output.

The umbrella serves as the modifier — transforming the small, harsh flash into a larger, softer light source. He’s not using a $300 parabolic softbox. He’s using a $20 umbrella. And the results speak for themselves.

Positioning: Where the Real Skill Lives

The bulk of the video focuses on light placement, and this is where the value is. Northrup walks through several classic single-light positions:

Rembrandt lighting. He places the flash at roughly 45 degrees to the side and slightly above the subject’s eye line. The result is a triangular patch of light on the shadow side of the face — the signature Rembrandt triangle. He explains that the height of the light determines the triangle’s shape: too high and you get harsh shadows under the nose and brow; too low and the triangle disappears.

Loop lighting. A slight variation — the light moves closer to the camera’s axis, maybe 30 degrees off-center. The nose shadow becomes a small loop rather than merging with the cheek shadow. Northrup explains this is the most universally flattering single-light position and the one he defaults to when photographing someone for the first time.

Split lighting. The flash moves to 90 degrees — directly to the side. Half the face is lit, half is in shadow. It’s dramatic, moody, and works particularly well for male subjects or editorial-style portraits. Northrup demonstrates how moving the subject’s nose slightly toward the light can soften the hard line between light and shadow.

Butterfly lighting. The flash moves directly in front of the subject, raised high. It creates a small shadow directly under the nose (shaped like a butterfly) and even illumination across both sides of the face. Northrup notes this is classic beauty lighting and tends to flatter high cheekbones.

The Distance Variable

One section of the video that I found particularly useful covers the relationship between light-to-subject distance and the quality of light. Northrup moves the flash and umbrella closer and further from his subject, showing the difference in real time.

Close flash — maybe two feet from the subject — produces softer light with a rapid falloff. The background goes dark because the light intensity drops off quickly with distance. This creates natural separation between subject and background without needing a backdrop or a second light.

Further back — six or seven feet — the light becomes harder and more even. The background receives more illumination, and the shadows on the face become more defined. Neither is right or wrong; they’re different tools for different looks.

He demonstrates this with side-by-side comparisons that make the principle immediately visible. It’s the kind of practical demonstration that sticks better than any diagram.

Using Walls and Reflectors as Your Second Light

Northrup addresses the obvious limitation of a single-light setup: the shadow side of the face can go too dark. His solution doesn’t involve buying more lights. He positions the subject near a white wall, which bounces fill light back into the shadows. He also demonstrates using a simple white foam board as a reflector, held or propped just out of frame.

The effect is subtle but significant. The shadows retain their shape and mood while gaining just enough detail to avoid looking like a silhouette. He adjusts the fill by moving the reflector closer or further, showing how you can control the light ratio without touching the flash settings.

The Honest Takeaway

Northrup wraps up by acknowledging that multi-light setups absolutely have their place — rim lights, hair lights, and background lights all serve specific purposes. But his argument is that learning to control a single light teaches you more about lighting fundamentals than any multi-light setup can. You learn to see light, shape it, and work with its limitations.

For anyone starting out in portrait photography, or anyone who’s been putting off lighting because of cost, this video removes every excuse. One affordable flash, one umbrella, and intentional positioning. That’s the entire formula.

Watch the full video below: