More Questions about lighting

[Tom J McDonald]

Hello all, i have some more questions about lighting.
This isn't large format, but thought I'd ask here as there are some experts.

How do I reduce the highlights on these objects so that they are less blown out?
This is film, and would like to be able to prevent these bright higlights with lighting techniques, if possible.
Thanks,
Tom.

[Robert Oliver]

Bigger light source closer to the subject.... or simply add a big old diffusion panel as close as you can to the bowl without intruding into the frame

[Tom J McDonald]

Got ya! So shooting the light through a very large sheet of thin, white paper would suffice? I have a big roll of it so will try later tonight!
Thanks.

[Robert Oliver]

I love sticking a big ol' softbox as close to my subject as possible.... very soft, beautiful light

[Tom J McDonald]

OK Robert, I don't have a softbox but I'll make do.
Thanks again.

[Robert Hughes]

Do a little study on basic cinematic lighting, you'll find reference to the "3 point (http://www.mediacollege.com/lighting/three-point/)" lighting system: Key/Fill/Back light. You are using a key light without enough fill or back light, so your highlights are blown out.

[lenser]

Lacking a soft box (which would be your best friend in lighting) white paper is okay, but if there is an art store nearby, large sheet of architect's vellum is much better as it is more translucent. When I need supplemental scrims for a lighting set up that precludes a soft box, I staple the vellum to frames for oils and go with that. Also white nylon fabric taped or clipped to a frame of PVC pipe works wonders.

Layering of both also softens the light further. By layering, I'm talking about having a foot or more space in between two sets of the diffusers. The first one cuts down on the contrast and the second almost completely removes any hot spots.

Then a large sheet of white foam core to use for a fill on the other side which lowers the contrast range makes you pretty well good to go. (Hint: move it in and out while observing how it changes the highlight to shadow ratio and go with what your eyes tell you looks good.)

[Tom J McDonald]

Great stuff, thanks guys. I'll keep trying and come back if something good occurs :)

[DanK]

Intensity of light source in proportion to size of light source....

As mentioned before, the bigger diffusion the better for bright sources...

I don't know if you are using strobes....or other...but another route is reducing the amount of light output in relation to its size.

Thanks,
Dan

[Tom J McDonald]

Yes I'm using a strobe with an umbrella reflecting the light.

So, do you mean reducing the output of the flash and opening the lens?

[Frank Petronio]

The point is to move the light closer, not reduce it.

[DanK]

Yes I'm using a strobe with an umbrella reflecting the light.

So, do you mean reducing the output of the flash and opening the lens?

Tom, as a general rule no....when I first tried strobes, I had similar issues....I moved in as close as I could, but was only changing the shape of the highlights rather than eliminating them....I realized my output was set higher than need be....

Thanks,
Dan

[Robert Oliver]

If you move the light close enough, the highlight becomes the whole lit part of your image.... therefore basically eliminating them.

It's a common practice when photographing very reflective objects like sunglasses, jewelry etc.... (even cars are shot this way sometimes)

[Tom J McDonald]

Got it, then the intenisty of the light will inevitably be reduced.

[Frank Petronio]

Eh?

The light's intensity will remain consistent regardless of distance. But the closer the light gets to the subject, the more intensity the subject will receive.

If my light is 4 feet away from the subject, it might require f/8 for the exposure. Move it half as close and it will require ~f/11 to match exposures. Place it a foot away and now it requires ~f/16 for the same densities on film.

I think you're confusing "intensity" with "damn hot spot". What the above people are saying is to get the light larger and/or closer so you have a minimal to non-existent hot spot.

[Tom J McDonald]

Frank Petronio, I meant I will have to turn the light down (or close thel ens), not that moving it closer will automatically make it less intense.

I understand and have begun more testing :)

[Brian K]

If you move the light closer to the subject 2 things happen, first the highlight becomes larger, and the second thing is that the fall off between the right side of the image and the left side of the image becomes greater. That means the left side will appear even darker by comparison to the general values on the right side. If the light on the right is twice as close to the right as it is the left, the left receives 1/4 the amount of light.

No matter what you're going to have highlights on the fruit. They are shiny. You could use dulling spray to knock them down but I would not recommend it as it would look unnatural to not have a highlight. I would suggest that instead of trying to eliminate the highlights, which are a natural occurrence and are expected, to instead try to make them attractive and help them define the shape and texture of the fruit. I would also suggest backing this light further from the fruit to allow more evenness.

If you hang a large diffusion sheet between the subject and light source, that is have the light project onto and through the diffuser, and allow it to create a softer gradation of the light you'll have a more attractive highlight. I would also move it a little further back on the set to define the edge and shape of the fruit a bit more. You could even shape the light hitting the diffuser into more of a window shape which would look less studio-like than a round highlight.

The next thing needed is more soft fill in the shadows, most easily accomplished with the use of a large white reflector card on the left and one above. The one on the left is to fill the hard shadows, the one above is weaker and is used to create more ambient light bouncing around the set so the overall exposure can be decreased lessening the intensity of the highlights.

The key to all of this being very diffused light overall, with a single stronger light to give shape, texure and depth. You add enough fill with the white cards to balance the intensty of the main light but are careful not to over fill and lose the mood of the lighting.