Page 87 - Lighting the Un-lightable 2015

1 When Hurrell used Fresnel lights, there were almost always strong
shadows. Here I felt that I needed to separate the stronger shadows
around her body from the softer shadows in the hall. Doing other-
wise, I thought, would have lost some of the drama.

2 Similarly, I wanted the shadows to taper away from her. Managing
this transition would be very difficult to create given the intensity
inherent in Fresnel technology.

4 3 I knew this would be a difficult area to light. I didn't want the

detail in the bed, comforter, headboard, or wall to disappear but
I didn't want it to pull the viewer's eye there either. I wanted the
color of the wall to be visible, and I didn't want to lose the sense of
space.

4 Too much light would have pulled the viewer's eye here. Again, I
wanted to keep the sense of the layout and decoration of the room
in tact to help set the mood.

5 Akira has highly reflective skin. I couldn't ignore that. I also want-
ed the shadows over her body to match those on the wall and bed.

White material is always difficult. White, as you know, reflects light
6 far more than any other color. I had to be careful not to let this
detail in the lace of her skirt disappear.
6

Analyzing the scene. | 87