Page 24 - Lighting the Unlightable Volume 1 #1

It all comes down to this section of the image. This is
the “blackest black.” Experience has taught me that, to
the eye of the camera, this area would appear total-

ly black. Improperly lit, this area would remain black,
and that, in turn, would diminish the emotional power
of the image.

That would cause another problem as well. The side of
Nikki facing the camera would have been almost black
as well. All the detail in the black dress would have
blackened to the point of complete loss of detail. That
would have further diminished the emotional power
of the image.

I knew I would have to bring the light from the strobes
across Nikki and the settee. Notice the even tones of
the wood along the top edge of this section. The dan-
ger was that too much light could have caused this
area to be too bright or even blown out. I had to bring
the light high enough to avoid directly hitting the
wood, but low enough to push light under the settee.

Note how much of the wood molding along the floor
you can see. Take a close look at the edge of the shad-
ow. It is clearly defined, but soft enough to look nat-
ural. Except for the very center of the rug, detail is
visible. Even to the human eye, that part of the rug
appeared dark.

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