Page 19 - Lighting the Un-lightable 2015

The volume of light in this space was extremely inconsistent:

Almost half the walls were glass and they faced south - directly in
6 1 to the sun. East is to the left of this image. It was important to make
the room look as natural as possible, so we wanted to keep the reflec-
tion on the wood ceiling and we wanted to remove the dark shadows
between the chairs in the conference room and the glass wall. Light
reflecting from the interior glass wall further raised the volume of
light in this area.

Though we couldn't physically see it, this area was substantially darker
than the area closer to the wall of windows. We also had to watch
how we lit the space - we didn't want to over light the floor and lose
1 2 detail. In fact, we were able to keep most of the texture in the carpet-

ing. Keeping the transition between the area lit by the window and the
shaded area in tact was very important as well - we wanted to create
an image that looked exactly the way the human eye would see it.

This area was also four F-stops under the area nearest the window.
The presence of white chairs was a problem since any light added to
3 the space could potentially make the chairs disproportionately whiter,

and, the chairs could reflect so much light that they would be mir-
rored in the glass.
2 The volume of light here was at its lowest. We have learned that

4 however we saw this space, to the camera it would be near totally
black. There is a wood wall to the left, just out of view, and we had to
be careful not to aim the lights directly at the wall. This area would
become too bright and the inner glass wall would become a mirror.

3

White ceiling in rooms that are largely glass can be both an asset and a liability. The volume of
light across the ceiling - from one end to the other - was over four F-stops. Lighting the daraker
end didn't help since light crossed the surface of the ceiling and made the brighter areas even
6 brighter.

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