Excellent thoughts, Paul. Unless I'm wanting a light/shadow three
dimensional look, I like the light fairly well balanced to reduce
shadows. Your point about the angles is well taken, however.
As you suggest, I agree that a third "light" can be of great help in
managing shadows.
I taking some gear a couple hundred miles to a family Thanksgiving
gathering tomorrow and may have to record some attendees.
I think some extra wine is the answer. ;) 

Jack
--- [EMAIL PROTECTED] wrote:

> The reason the two lights don't cancel the shadows created by each
> other is that they're aimed in different directions. Thus, the "wash:
> of each can't quite cancel the shadow of the other. This is typical
> of a somewhat flat lighting arrangement. Better would be to allow one
> to provide a shadow where yo9u want it, and aim the other to soften
> it to a stop or less in value. In other words, they come at the
> subject from different angles. One might be high from about thirty
> degrees. The other might be low from about ten degrees. Lighting is
> all about creating a shape and making the lights work for you. In
> most case, one is the main light, the other is the fill. And by fill
> I mean the shadow brightener. Think of it that way. The main source
> lights and creates deep shadows on the subject and perhaps the
> background. The second light reduces the value of those shadows until
> they're attractive. From there you can add other lights. A third
> light to create a highlight where you want it. Anothe
> r light to illuminate the background. And so on. Lots of fun.
> Paul
>  -------------- Original message ----------------------
> From: Charles Robinson <[EMAIL PROTECTED]>
> > On Nov 21, 2007, at 15:58, Jack Davis wrote:
> > 
> > > Only for the sake of discussion (actually I can't discuss the  
> > > question,
> > > only raise it), why don't two lights (540 flash units for
> example)  
> > > wash
> > > out or cancel each other's shadows?
> > > Example: one flash on either side on a plane with the camera,
> lighting
> > > a common subject.
> > > Must assume perfection in placement with respect to all distances
> and
> > > angles even though it's not a requirement. Offered to avoid the
> issue
> > > being raised.
> > > I've known for sometime that the 'wash out' doesn't happen, but
> the
> > > only answer I've ever gotten; "they just don't".
> > >
> > 
> > Can't answer the question, but I avoid the issue by doing it this
> way:
> > 
> > I use a flash in front of the subject (on camera) and a second one 
> 
> > behind the subject to light up the wall behind them.
> > 
> > That way, the rear flash has more power (closer to the wall) than
> your  
> > head-on flash and "tada!" no shadows.
> > 
> > Example here (headshot for work) (warning! full-sized image!):
> > 
> > http://charles.robinsontwins.org/photos/2007/imgp8627_heather.jpg
> > 
> > This photo was taken with the camera rotated ccw, with the flash  
> > (af540fgz) rotated upwards and a sto-fen on top of the on-camera
> flash  
> > to smooth things out.  The Sigma EF500DG was on a table behind her 
> 
> > aimed upwards at a 45-degree angle to hit the wall.
> > 
> > This ain't art, it's just a photo for work.  :-)
> > 
> >   -Charles
> > 
> > --
> > Charles Robinson - [EMAIL PROTECTED]
> > Minneapolis, MN
> > http://charles.robinsontwins.org
> > 
> > 
> > 
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