I had to shoot in a large hall in a statley home in Middlesex UK.
There was no daylight comming in through the windsows at all so I set up 4 500 watt mono light flash heads 1 outside each window. to my right i had large lastolite reflectors to bounbce the flash onto my model. I took my flash reading from my models face pointing the invercone towards my camera position.
The give away is the fact that the shadows of the window frames are converging. Real sun light has parralel shadows but I dont think the layman will know.
Looks great Bruce - but you are right - I can see the shadows diverging, with the upper shadows going upwards as if from a light source that wasn't up in the sky. I doubt many people would see it that weren't looking for lighting cues though.
I guess longer light stands or taller assistants could cure that if you wanted to, or some sort of cherry picker ;) Has a great feel as is.
Would you have spotted that If I had not told you LOL
Probably, but that's because I'm trying to learn to read lighting and as a result am paying more attention to it. Wouldn't expect most people to see it or care ;) I seem to spend a lot of time looking at people's eyes and other reflective surfaces.
Thats about the best method for detecting how a shots been lit. The obvious things are main light direction and type, clip lights how they hit the model, what type of main and key lights have been used etc etc.
I was shooting in a large hall in west London. I had had really lovely sunlight all afternoon but by 4.30 the sun was getting too week to shoot.
The solution to this was to place a large soft box on a 1000 watt flash head outsite of some french windows, pointing into the room at my model and a couple of 500wt heads with just 8 in reflectors attached bounced onto the very high ceiling of the hall positioned out of shot. This saved my life. Thank god it did not rain that day or I would heve had to rethink again how to light it with out daylight and still make the shots look the same as those shot earlier that day.
