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Remember that if you re shooting in programmed autoexposure (AE) mode, aperturepriority AE, or shutter-priority AE, you can raise the camera s EV compensation value to force a brighter exposure. Doing so may enable you to get an adequate shot using only ambient light. But if the light is very dim, the camera may already be working at its largest aperture and slowest shutter speed and so can t increase exposure even if you dial up a higher EV.
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Flash reflection FIGURE 4.6 A built-in flash creates a hot spot of reflected light and leaves part of the helmet in shadow.
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For my second helmet shot, I used the camera s built-in flash, which is almost never a good option for shooting reflective objects. The light from a built-in flash is harsh and narrowly focused, which typically results in a bright orb reflected in your subject, as shown in Figure 4.6 and in the top image on Page 16 of the color insert. Even if your camera enables you to lower the flash output, you are likely to get a reflection. In addition, a built-in flash often results in uneven lighting; notice that left side of the image in Figure 4.6 is much darker than the right half.
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CHAPTER 4: Exploring Product Photography and Other Still-Life Adventures
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On top of that, the flash wasn t enough to bring out the striking purple-blue colors in the face plate, which you can see in the examples on Page 17 of the color insert. With the built-in flash, the face plate appears opaque black. As explained in 1, some advanced digital cameras enable you to attach an auxiliary flash via a hot shoe or cable. If your camera doesn t offer this flexibility, you can use slave flash units, which are triggered when your camera s built-in flash fires. Although using an auxiliary flash works well for many projects, it probably won t do the trick when you re shooting reflective objects. For the middle image on Page 16 of the color insert, for example, I turned off the camera s built-in flash and attached an external flash head. I aimed the flash head toward the ceiling, which was white. Although bouncing the light off the ceiling reduced the hot spots, the issues with the uneven lighting and the face plate remain. After trying ambient light, built-in flash, and auxiliary flash to light the helmet and getting poor results all along the way I decided it was time to drag out the heavy light power. I switched on a studio hot light, using a white umbrella to diffuse the light. (Peek ahead to Figure 4.7 to see the light and umbrella.) The last image on Page 16 of the color insert shows the result. Now the colors in the face plate emerge, and the lighting is more even. The bad news is that the reflection from the studio light is even more noticeable than the hot spot created by the flash, and with the increased light, the helmet now reflects the patterned area rug and other room elements. In most cases, no amount of fiddling with various light sources completely eliminates reflections. So save yourself all that experimentation time and do what the professionals do: Shoot the object through a light tent. A light tent is simply a piece of white fabric that s draped around the subject, with an opening just big enough for the camera lens to peek through. The tent serves not only to prevent reflections but also to further diffuse the light. I stuck with my hot light for the helmet project, but you can use a light tent with any light source except, obviously, a built-in flash. Figure 4.7 shows my homemade light tent, created out of a pair of white sheets and a white shower-curtain liner. I used a light stand to support the outer edge of the tent. You
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