Reflections are caused when light bounces off a surface and is directed back towards the camera lens. Of course we need light reflecting from the surface of an original work to be able to copy it. However when the reflection is direct and specula it creates an unacceptable high-light that disguises the true colour and tone of the original - the area becomes burnt out. These reflections occur when the light bounces off the surface of the original at a certain angle.

When light hits and object it reflects off at the same angle it. It is a similar principle to shooting a pool ball.  The angle light hits the object is called the angle of repose while the angle it reflects off at is called the angle of reflection.

Diffuse and Specula Reflections

Reflected light is usually diffused in character, that is, the reflections occur about equally in all directions from a surface that has a matt or textured finish.   Any surface that appears 'shiny' such as glossy magazines, works under glass etc. can produce specula highlights that destroy the underlying qualities of the original work.

So, when observing an original you are copying it is important to observe the relationship between the diffuse areas that illuminate the work faithfully and any specula reflection with the aim of eliminating the reflection. The reflective qualities of the surface of the original work has a distinct bearing on this, with double spread pages from a magazine and work under glass posing a real challenge.

The surface of some glazed painting that have an impasto (a raised thickly painted surface) or cross painted textured surfaces can also be difficult to light evenly.

With a vertical copy stand and many horizontal copy situations this is just a matter of setting the lights at an angle of between 45° & 35°.

The lower the lights are set the less chance of a reflection. However, if the angle becomes less than 35° there is a chance of any textural aberrations like scratches etc. in the original being revealed.

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