Compositing for Lighting

Started 3 months ago | Discussions thread
Landscrape Regular Member • Posts: 135
Re: Old hat

Currantos wrote:

This is SUPER common in complex product photography, such as cars, on locations, reflective shiny objects, etc.

Look up how they shoot car advertisements with lights aimed at different car parts, then they move to a different part, then they light the pavement, then the front seats, then the tree next to the car, then the house on and on and on. Without these "micromanagement" spotlights there would be splashes of light and reflections and everything would look way too contrasty and bland and haphazard, given how much metal and glass there is. Plus you would see light stands with lights everywhere, kinda like a movie set.

Actually, look up how they light movie sets, it has a very similar feel, except compositing out the lights they usually hide them in the scenery or by having the light fairly far from the "stage" or they light one part, shoot one way, then orient the camera another way and rearrange the lights so you don't see them on that other side.

I think it is well known and done routinely.

What I personally find interesting is what other photographers think of composite lighting? Do you feel it conflicts too much with the desire to get everything "in camera"? What would be your answer if a client (for example) would criticize the composite lighting and layer masking aspect as "too artificial"?

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