Well, technically it is two lights, and a reflector. I have been studying Steve Sint’s book on still life imaging and have decided that he is right.
Up until now I have been keen to add as many lights as I could afford into the compositions for the Little Studio. Good idea for some glamour shoots but not so good for the model cars. You see I wasn’t really looking at what real light really does.
Real light is one light. One sun…and a big blue reflector overarching the world. At least it is big blue in Western Australia. In British Columbia it is big white and in Europe it is big grey. All perfectly valid ( provided you do not have to breathe it…) and really sets the standard of what should be reproduced on the set.
Today the subject is an Aston Martin LeMans racer of the 1950’s – a winner as it happened. The main light is a standard 500 W/S Elinchrom but this time with no reflector bowl at all – just a bare tube. This allows me to replicate the small size of the sun high in the sky. The sky is the ceiling of the studio washed with a light blue filtered flash – a beauty dish to scatter skylight all over the ceiling, from hence it bounces down to the set and gives the subtle bluing in the shadows. This only needs 250W/S.
There is no fill flash – I’ve turned the big softbox off. All that pops light into the dark side of the car is a sheet of white card as a reflector – idea courtesy of Mr. Sint.
The next stage will be to paint or print a scene upon that fill card so it reflects the opposite of the scene into the paintwork and chrome of the car. Like the big boys in advertising do.
The Little Studio advances…
PS: New Fujifilm 27mm lens. Beautiful optic.