For this exercise, I stole a basil plant from the kitchen window ledge. This gave me two contrasting textures, the organic form and slight sheen of the leaves, and the flat sides and glossy surface of the ceramic pot.
Equipment and general set-up is shown above. I created an infinity curve with a roll of mid-grey background paper on the dining room table. The camera is locked-down on a tripod, manually focused and set in ‘X’ mode at an aperture of f/16. Exposure adjustments were made by varying the light intensity. Although I shot in RAW format, I made no post-processing adjustments before exporting to JPEG.
This is my default starting point for lighting set-up, perhaps influenced by my architectural drawing background in which shadows, if added to an elevation drawing are conventionally shown as if the light source was at 45˚. It does a workmanlike job, the combination of sheen and shadow on the leaves giving a good indication of overall form and individual curves.
As I suspected, lighting with a single point source gives unacceptable (in the context of this subject) shadows on the left side and loses detail in the ‘internal’ leaves. Of the two alternative methods for lighting the shadows (fill light or reflector) I consider the fill light to have worked best in this case. Being close to the lens axis, it has been better able to penetrate to the interior of the plant.
With this set-up, the main light is behind the plant with the intention that the form of the leaves would be defined by sheen. It is inevitable that the front will be in shadow, so some fill lighting is essential. It is interesting to compare the main+fill and main+reflector images as the effect on the pot is very different, with different facets lit.
Again, my preference is for the final image in the sequence, with both lights and a reflector.
The starting point for this set-up is similar to the basic 45˚ lighting but with a large light source to give a softer light. Because the light wraps-around to some extent, there is better lighting to the interior of the plant, but we still have the heavy shadow and undefined leaves at the rear left.
The intention of the kicker is to define that part of the plant by a combination of rim light and sheen. It work tolerably well (third image) and it is arguable whether it is improved by the addition of a reflector. The reflector improves brightness at the left, but also flattens the lighting on the left side. On reflection, this image could be improved by the use of a smaller reflector or by placing it further from the subject.
Lighting from above gives a different set of shadows, and emulates the lighting that the plant is most likely to be seen in. It was interesting to watch the changing light, particularly on the pot, as I changed the angle of the reflector.
Overall, my preferred image from the exercise is 2D, rear diagonal lighting with front fill and reflector.