Page 65 - Lighting the Un-lightable Volume 1 #3

Visually this is how the lights were positioned. Despite
how it might look, the light on the left is not pointed
directly at the chair, and, the flash in this image was
1set at a much higher intensity than what it was when I
actually created the image of Innana. For the final image, the flash
was set to 1/16th full power.
The flash on the left is actually pointed to the right of the
chair so that it will approximate the light entering the room from
the floor to ceiling windows to the left and out of sight. Also, I de-
liberately placed the flash on the table - this further ensured that
the shadows on the floor would not be destroyed when the flash
fired. The shadow on the floor will match the shadow created by
ambient light.
The flash on the right is pointed down the side of the chair,
parallel to the wall. This flash was set to 1/32nd full power.

1

This photo shows how the light from the two flashes in-
tersected. Of course, the farther light travels, the more
diffuse it becomes. So, before the most intense section
2of light from the two flashes intersected, the light had
already begun to diffuse. As a result, the light from the flashes al-
ready had "broken" into smaller, softer elements of light.

As we have said many times, the goal is to fill the space with
a very consistent volume of light. The most effective way to do that
is to create a situation where the light from multiple sources is
"broken" into hundreds or thousands of "shards" of light. Light the
space, not the subject. Further, by understanding the way ambient
light filled the space, or, didn't, I was able to stage my lights so that
they created a scene that looks as natural as possible.
On the next page, we will look more closely at the final im-
age.

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