I am using thunder gray seamless for the first time and keep getting this white line in the fold. The fold being right where the paper rises from the floor. Of course, the line goes away if I eliminate all light from hitting the seamless. However, I was under the impression that the gray would be kind to a little spill. Is this not the case?
Also, what kind of angle are you suppose to have in the fold anyway? I've been using close to 90 degree and not had the issue with white or black. I notice now with the gray that if I stretch the paper out so the fold is very gradual the line is less acute, but still there.
Bad choice of words on my part. I am letting it flow in a gentle arch to the floor. There is always a white line in that arc when light is hitting it. The arc itself is lighter than the seamless on the floor and seamless just above the arc thus producing the line.
What you are seeing may be glare caused by a reflection of spill of your shooting lights off a white ceiling.
The angle of reflectance is equal to the angle of incidence and curved surface will pick up reflections from a wide range of angles. If it is being caused by reflected spill if you change the position of your camera vertically the line will move up/down in the opposite direction. To prevent it use light sources which don't spill light onto the ceiling and walls.
3 lights- 1 st umbrella from behind, 2 lights in front on each side.
cgardner: I don't think that's what it is because the line doesn't move. Plus, no line appears when the sb is pointed sideways, ie no direct light hitting the seamless.
Thanks Happy. Yes, we did a visual test with a large sweeping curve and the line got fainter but was still there. Didn't have time to shoot it. Will try again this weekend.
I set the camera for flash but always shoot a gray card. Then adjust the wb in ps. The above image has not been adjusted in ps, it's the jpeg straight out of the camera. I understand that I could set a custom wb but have not gotten around to that.
double shadows
Hum, didn't notice that. I guess that is the result of lights on both sides I guess double shadows are a no-no. Does that mean you never use lights on both sides?
I'll try a wider arc this weekend. Thanks for all the help. This forum has been wonderful for me.
I set the camera for flash but always shoot a gray card. Then adjust the wb in ps. The above image has not been adjusted in ps, it's the jpeg straight out of the camera. I understand that I could set a custom wb but have not gotten around to that.
double shadows
Hum, didn't notice that. I guess that is the result of lights on both sides I guess double shadows are a no-no. Does that mean you never use lights on both sides?
I'll try a wider arc this weekend. Thanks for all the help. This forum has been wonderful for me.
Nah, it doesn't mean don't use a light on both sides.
When I shoot key+fill, I usually have the fill off camera axis on the opposite side of the main light. So if my main light is camera right, then the fill light is just to my left.
Unless the crossed shadows is what you're going for, the key light creates shadows, and the fill light fills them.
If you have lights of equal power, equal distance from the subject, you will have double shadows. One light needs to be more powerful to act as the Key light, then another light or a large white reflector on the other side to act as a fill. I prefer a large reflector, but it's up to you. Pretty soon, cgardner's spidey sense will kick in and he'll explain neutral fill.
jwboring wrote:
Hum, didn't notice that. I guess that is the result of lights on both sides I guess double shadows are a no-no. Does that mean you never use lights on both sides?
If your goal is flattering lighting a better strategy for a full face pose is a centered pattern with key light directly above the camera and fill slightly below.
When putting a key light to the side for short lighting if you place the fill over the camera it will illuminate everything the camera sees evenly, producing a foundation which lifts all the shadows without any void.
When setting lights set the fill first before the key light. Observe where it creates shadows. Understand that if the fill is creating a shadow you will either wind up with a dark void in that area or if the key light overlaps it a highlight which is darker than those where both key and fill overlap.
Click the WWW button below and read my tutorials to better understand the cause and effect of key and fill and how they need to interact to create smooth even shadows.
Your line in the seamless is a result of the way it is hanging an the light is hitting it. The light area is catching the reflecting the light but the areas above and below it aren't making the contrast obvious.
If you try the centered strategy suggested above both lights will be oriented towards the background and you will find it will be illuminated more evenly.
