Page 42 - NyghtVision Magazine Volume 3 #1

42 LIGHTING THE UN-LIGHTABLE

to reflect so much light that it overpowered other directly can produce a very dark vignette.
Innana and changed her skin tone significantly. To avoid this, I routinely place the strobes—or
In our NyghtVision Methodology, we discuss whatever light source I am using—so that one
the idea that the most effective way to light a is lower than the other. It is important to make
scene is to light the space around the subject. sure that at least half the diameter of each light
We also stress the idea that when a scene looks overlaps the other. So, if the diameter of an um-
like it was photographed using ambient light, brella is twenty inches, I want to make sure that
it has been lit correctly. My first priority, then, the top edge of one umbrella is in the center of
was filling the space around Innana with light the other. This ensures that some amount of
in a way that didn’t cause light will strike the floor
hot spots or reflections to and the ceiling, and in
occur. As the uon the dia- most cases, this eliminates
gram to the right indicates, a potential vignette.
I set the strobes in such a I also make sure that the
way that each fired at its light intersects several feet
umbrella, and then the in front of the person or
light from each umbrella object I am photograph-
intersected with the light ing. This further ensures
from the other strobe (see that (a) the light will scat-
the bull’s eye). Since the ter around the person or
umbrellas are curved, the object, and (b) this will
result was similar to what produce a very soft but full
I would have achieved had volume of light. The latter
I used a soft box. is critical for producing
While we think of light photos that look like they
as a beam, it is really a were created using only
collection of strands and ambient light.
each strand is a collection As you can see in Figure 3
of particles of light. As the strands diffuse (even on page 37, the shadows around Innana are soft
the tightest beam of light diffuses as it “push- and very natural. Detail on the door is superb.
es” through the atmosphere) the light softens, The seams in the floor are visible as well. Next
and as strands of light intersect with each oth- to Innana’s left hand, the door latch is visible
er, they diffuse further and soften more. By the and the folds in her dark dress are apparent.
time they reached Innana, the light would be Figure 5 on page 40 shows the actual room
very diffuse and very soft, which was just what setup. Note that I did not move the table and
I wanted. chairs that were technically in the way, for they
Innana (see v on diagram) was positioned further diffused the light.
several feet from the wall, and I wanted to make Figure 4 on page 39 was created during the
sure that the light would reach around and be- same shoot. Innana is in front of a window
hind her in a way that would appear totally nat- in one of the eaves. Anyone who has photo-
ural to the viewer’s eye. Experience had taught graphed a person in front of a window knows
me that placing the lights so that they faced each how difficult a photo like this can be to create.

nyghtvision magazine volume 3, number 1, WINTER 2013