353180206 by Unknown

Author:Unknown
Language: eng
Format: epub

Fig. 5.24

Reflected light using white polyboards.

Background white

For some applications we’ll wish to have a completely white background – not just paper white but really punchy, high contrast white. It’s an easy enough technique to achieve but we usually require at least three lights for this. The background, whether a colorama paper or a wall, is illuminated by pointing two lights, usually with a diffuser (umbrella or softbox) at polyboards a metre or two forward of the background. Make sure they are a little on the side, so you’ll be shooting through the centre of them. All going to plan, the light will hit the boards and bounce back to fill the whole background; as it’s diffused it will travel along the paper to the centre. The key to the crisp white is to markedly overexpose the background, so it is two or three stops over the intended exposure for the rest of the image. For example, the background might be ƒ11 for a perfect exposure, and our subject standing in front might be ƒ5.6, resulting in a two stop overexposure of our background. This creates the sharp white; with so much light hitting the background the camera sensor sees only white. Our foreground subject, who is standing forward of the background, has our third and main light pointing at them, balanced for the perfect exposure.

Tape over screen

After you’ve familiarized yourself with operating the studio lights, try and take the challenge one step further and cover your camera’s screen with paper and masking tape. Trust that you know what you’re doing with the lights and try different things out. You never know what effects you’ll get – some might not work but others might surprise you. Take note of what you did that worked, and learn from your mistakes.

TRIPOD USE

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