Assignment 6: Metal and using Direct/Diffuse Reflections

Due: 10/4 (Monday)

Relevant reading: pages 133-160

 Direct reflections maximized; camera within "family of angles." 

 Direct reflections minimized; camera outside "family of angles" (achieved by moving the light, not the camera)

 Direct reflections maximized; camera within "family of angles"

Notes on metering for direct reflections: 

Using an incident meter reading in this exercise will often result in overexposure. Instead, please use a reflective meter reading of the main light source. This will initially provide an exposure that creates reflections that are middle gray. If we want white, we need to raise this value. In general, power the strobe up 2.5 stops above your desired f-stop (on camera), to place these reflections in the range of light gray or white. Why? Direct reflections are roughly the same brightness as the light source, so we need to place these tonal values precisely.

Part 1

Create a visually appealing, single-plane still life, with 1-2 flat, metallic objects. Combine these with less reflective surfaces. You will be shooting down, on the table. Use one light with large soft box. It will be better to keep the camera stationary for all variations, and simply move the light to cause the changes. Explore different light positions that accomplish the following:

Variations:

• Maximum direct reflections ("inside the family of angles")
• Minimize direct reflections ("outside the family of angles")

Part 2

Create a high key, two plane still-life setup with metal object. Object should have some height. 

Use a soft box to maximize direct reflections in a flattering way. Remember, metal is like a mirror, so the highlights are direct reflections of the light source, itself.

Use a file card to add desired reflections on the shadow side of the object.

Use a separate light on the background and render it light gray or white, with shadow effects as desired (such as blinds).