Page 45 - Lighting the Unlightable Volume 1 #1
P. 45

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                                                                                       There are no hard-
                                                                                       and-fast rules for
                                                                                       “segmenting” an im-
                                                                                       age into sections. I

                                                                                       look for common to-
                                                                                       nality, shadow lines,
                                                                                       and  even  how  the
                                                                                       lines of the mod-

                                                                                       el shape a space. In
                                                                                       this case, this area
                                                                                       was defined - as far
                                                                                       as my  eye  was con-

                                                                                       cerned - by her tor-
                                                                                       so, the window, and
                                                                                       the fact that this sec-
                                                                                       tion was so much

                                                                                       brighter.







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                                                                                       Experience  suggest-
                                                                                       ed that this segment

                                                                                       was much darker to
                                                                                       the eye of the cam-
                                                                                       era  than  it  was to
                                                                                       mine. The shadow at

                                                                                       the base of her shoe
                                                                                       helped me see that.
                                                                                       This area  is at  least
                                                                                       2     F-stops        darker

                                                                                       than the area of Car-
                                                                                       olyne-Marie’s           face
                                                                                       and upper torso.




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