Light from the subject can reach the camera lens. Or…should this be achieved as a step in compositing, where I would render out the Glossy Direct/Indirect/Color elements as render layers and manipulate them in post? The water (if calm) provides for the specular reflection of light from the subject of the photograph. Should this effect be achieved via a specular map? In other words, since it doesn’t appear that you can have a light that emits specularity, instead you would create a specular map that would indicate the areas where you want the object to be more shiny? Is it correct to assume that there are no lights that emit specularity only? My assumption is that lights always use the Emission node (which has only a Color and Strength property) and that there is no way to make a light emit specularity. This is especially true with long hair as the specularity will show off some sheen and shape. Often, especially in fill/bounce areas, adding a light that emits specularity only will create the right amount of variation without adding diffuse light. This can lead to characters looking overly lit and not properly falling off in the shadowed areas. Beginning artists will see a section of a character that is looking flat and uninteresting and immediately push diffuse light to that region to create variation. The light emitted by the flash vs LED will reflect off the surface of the object, resulting in specular highlights and over exposed, making it difficult to capture the texture and background of the object. Shiny, wet surfaces tend to have strong, hard-edged specular highlights and matt surfaces tend to have weak soft-edged specular highlights. Whether they are covered in skin, fur, feathers, or scales, characters can often have significant specular values that can be controlled to create shaping. You’ll see that specular highlights are the blobs of bright light that you tend to see more often than not on shiny surfaces on sunny days (although in the photo above they were caused by the flash). One of the tools for this is specularity. It is a constant battle for lighting artists to continuously create shaping in characters. I’m reading a book on CG lighting, and a section about specular lighting says this: In strobe light photography, the best lighting for photography is to have two light sources on each side the camera, 45-degrees between being a straight-on light source and a sidelight when you are taking portraits.
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