Dudley Hanks wrote:
> "Paul Furman" <paul-@[EMAIL PROTECTED]
> wrote in message
> news:oSxMj.3509$vF.2071@[EMAIL PROTECTED]
>> tony cooper wrote:
>>
>>>>>>>> skippy-007@[EMAIL PROTECTED]
quotes...
>>>>>>>>> The camera plane is a horizontal line that runs
>>>>>>>>> directly across the camera position as it relates to the positon
of
>>>>>>>>> the
>>>>>>>>> subject.
>>> In the sentence quoted, it's perfectly clear
>>> that the plane is being extended in the form of a line.
>> It is unclear without knowing if we are looking at a side view or top
>> view. The sentence only describes a line not a plane. The only plane
that
>> makes sense would be the film plane or sensor which is perpendicular to
>> the line connecting the camera & subject. Or maybe it's the plane that
>> meets the horizon? No way to know.
>>
>> This next part seems unrelated but suggests it's a discussion of the
line
>> connecting the camera & subject:
>>
>>>>>>>>> The subject is at the center of a circle and the camera
>>>>>>>>> is at the outside edge of the circle so we are able to move
>>>>>>>>> lights around an invisible circle at different degrees
>
> The way I read it, the OP is looking at a plane -- similar to the film
> plane -- which extends around the subject in a circle. If one were to
place
> lights, either flash or floodlights, on that plane, one could maintain a
> given lighting ratio while shifting the lights around the subject. One
> could then vary the effect without altering the exposure as long as the
> subject to lights / camera remains constant.
I think this is what is being described. The 'plane' is really a sphere
circumscribed at a given distance from the subject. But it doesn't
matter whether the distance is the same for the lights & camera.
> This could be useful if one wanted to quickly change from a side lit
shot to
> a more frontal exposure. One would merely move the lights but not have
to
> alter the exposure settings.
>
> I've seen this discussed in a few books I've read on the subject of
studio
> lighting, but there is usually a cautionary note that, as one shifts the
> lights, new highlights can pop up and throw off the exposure setting --
> effectively defeating the careful planning and meticulous work. Of
course,
> eventually, one would gain enough experience to predict this anomaly,
and it
> should prove to be a good way to organize a portrait studio where one
shoots
> more than one style of portrait.
>
> Take Care,
> Dudley
>
>
>
>
>
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