24th January 2013
To achieve this exercise, I set up a still life with a black velvet background and left room so I could manoeuvre around the side of the set. I worked in an almost dark room so the sunlight would not confuse the results.The camera was positioned on a tripod at the same level as the object. The light was positioned to the right side of the set at the same level. White balance was set to tungsten and all have exposure compensation of –1. All (apart from the 1st picture) use a diffuser.
I have ordered these from the first (no diffuser) as having the most contrast to the last having the lease contrast (white card 1.5 feet)
No diffuser Diffuser
F22 10secs ISO100 40mm F22 20secs ISO100 40mm
The non diffused light shows the most contrast. Shadows on the non diffused picture appear more yellow. More detail is visible in the shadows on the diffused picture.
Shiny foil 1.5 feet away Shiny foil 3 feet way
F22 10sesc ISO100 40mm F22 30secs ISO100 40mm
Crumpled foil 3 feet away Crumpled foil 1.5 feet away
F22 30secs ISO100 40mm F22 30secs ISO100 40mm
Dull foil 3 feet away Dull foil 1.5 feet away
F22 10secs ISO100 40mm F22 30secs ISO100 40mm
White Card 3 feet White Card 1.5 feet
F22 30secs ISO100 40mm F22 30sesc ISO100 40mm
This exercise has strengthened my existing understanding of contrast and shadow fill. Shiny surfaces used as a reflector act like a mirror and so reflect the light back. The exposure time at 1.5 feet was less showing there was more light visible. However, a hard shadow was formed. The pattern I have shown is that a shiny reflector gives more contrast. The distance of the reflector from the subject also makes a difference: if the light is moved further away, more contrast is produced.
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