Page 36 - Lighting the Unlightable Volume 1 #1

 And of course, the windows themselves can be an is-
sue. Because light reflects at the compliment of the angle

with which it strikes an object, positioned incorrectly, the
strobes would be visible in the windows. When you position
the camera directly in the path of the angle of reflection,

clear glass can become a mirror.
Also, when the difference between the volume of light on

either side of the window exceeds 2 F-stops, transparent
glass becomes mirror-like.

 The wood floors, also a high-gloss finish, could be
“blown-out” by light from the windows. So, I had to watch

the angle at which the sunlight was striking the floor.

 Then there’s the red-velvet couch. Velvet can be highly
reflective. Too much light from the strobes, and the couch
would discolor and appear to be blown out. Too little, and
the red would fade quickly to black.

 Black can be reflective, too, and I was concerned about
her dress. Satin, like velvet, can be very difficult to work
with. It can be highly reflective. Black is even worse than
other colors.

 The most serious problem, however, had nothing to do
with the room or the physical structure of the room, It was
that the structure of the space meant that I couldn’t place
my lights where I normally would.

Why would the inability to get my lights into the space be a problem?
Well, there are many reasons.

 The “Law of Inverse Square” holds that light diffuses
at the inverse of the square of the distance from the ob-
ject. So, if I am two feet away, then I have one quarter the
amount of light.

 Remember, our goal is to render the volume of light in

a space totally consistent. The farther the object - or per-
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