A very important aspect of choosing which part of the subject shall be hit by which type of light source is something I consider very closely when doing a selective lighting exercise in my shoots – Part 5 of the series
I like to look at lighting in two ways. As sculpture or as painting. As sculpture when you start with an overall wash of light and like painting when you commence in complete darkness. It is for this reason that I would like to suggest lighting systems and accessories that may assist you in attaining your final goals in lighting your subject or scenario.
In the film Blade Runner, the lighting was strange and beautiful. It was also very challenging to the technicians. Making the actors look good under the type of lighting used was a real feat. Kino Flo lighting was often used and not conventionally.
Now that you have your light set up for the model and the reflection of the object on the background, it is time to determine the ambiance your wish to create. If you are looking for a more “Cinema Noir” look you may wish to isolate the foreground from the background by increasing the out put of the flash on the subject and letting the background go darker by another 1 to 2 stops.
Lighting a set for a photo is a very fickle entity. Why do I say that? Because light can play many tricks on us and is often elusive in it’s ethereal state. It has many frequencies and understanding those wave lengths might help us understand the grand palette of nuances available that we can play with.