Page 57 - NyghtVision Magazine Volume 3 #2

door and the corner of the room. (See Figure angle would keep virtually all the light from re-
3a below.) This meant that the black side of flecting off one of the windows, (b) The wood
the umbrella was actually pointing towards door was old and by the look of the finish, it
the center of the room. still bore the yellow shellac that had been ap-
I tried the same thing with the second plied nearly a century ago—which would warm
moonlight, but it didn't work. I wasn’t sur- the light that reflected from its surface, and (c)
prised. When the moonlight fired, the light Even though this moonlight was set to nearly
struck the silver side of the umbrella and then minimum power, the force of the light coming
disappeared into the dining room—since there from the silver surface of the umbrella would
was only a very small wall to stop the light and intersect the light reflected from the wall be-
reflect it back into the room. Therefore, I de- hind the other moonlight, effectively "shatter-
cided to position the second moonlight in the ing" the light. (See Figure 3c on page 59.)
dining room. (See Figure 3b below.) With the As is always the case, I wanted the finished
silver side of the umbrella facing the room, the photographs to look as natural as possible.
moonlight was angled in such a way that when As I stood in the doorway to the main house
it fired, light would strike the umbrella, cross looking out at the sunroom, for example, I no-
the room, and strike the door. I knew this op- ticed that the right side of Salena's face, which
tion would resolve my issues because (a) The faced the direction of the sun, was brighter.

FIGURES 3a and 3b:

These diagrams isolate each of the moonlights to facilitate understanding of how the light sources interact.

SPRING 2013 | 57