Page 33 - NyghtVision Magazine Volume 2 #2
P. 33
“It was late in the afternoon over my hands. “Pointless,”
and I walked into the room I said to myself.
– THE room – just as the Rhea was touching up her
afternoon light streamed makeup and I knew I had
through the wood and tex- just a few more minutes at
tile shades. Across the floor, most to find some way to
the pattern I had seen so light the un-lightable.
many times, taunted me.
Why should something as
Over the past five years, I simple as a pattern of light
imagined capturing that on a floor or a wall be so dif-
pattern over a model and ficult to photograph?
I confess that while I have
tried a couple of times, I al- That seemed like a sim-
ways have come away dis- ple question, but the more
appointed. I tried to get the photo I
wanted the more I knew it
I knelt on the floor and let wasn’t.”
the pattern run randomly
LIGHTING THE UN-LIGHTABLE. THINKING ABOUT LIGHT
the shadows. Been there. Tried that. It didn’t There is a wall mirror across from where Rhea
work. The corner of the room was far too dark is sitting. Aiming the lights at the mirror so
as was the shadow on the floor. Ironically, that the light is pushed back into the room
this approach also made the bed stand out didn’t work either.
too much and the skin of the model just didn’t You get my point.
look, well, acceptable. Scratch that option.
So, how did I finally get it right? By under-
I have tried the opposite as well. That didn’t standing the volume of light in the room and
work. Whole sections of the floor were just too using it to my advantage. In fact, the volume of
hot and there was no way I could reconstruct light in the room is much higher from the top
the lost detail. of the bed up than it is from the top of the bed
I tried aiming the light up at the ceiling. Not to the floor. So, to fix the problem, I needed to
good either. White hot ceiling. Very dark room raise the volume of light below the surface of
from the bed down. the bed and lower the volume above it.
nyghtvision magazine volume 2, number 2, summer 2012