Page 44 - Lighting the Unlightable Volume 1 #1

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Here I wanted to retain as
much of the texture of the

fabric and the effects of
the light coming through
the leaded-glass windows

as possible. I also was
concerned that it would
fade to black too quickly.
Experience told me there
would be a tonal shift

here that would make this
area 4 F-stops darker than
Carolyne-Marie and the

window.

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Again, to the camera, this
area was substantially dark-
er than it appeared to me.

I didn’t want to lose any of
the detail in the wood floor
or the effect of the light
coming through the lead-
ed-glass on the floor to be

lost.

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