His ultimate goal? To emphasize the translucent, crystalline quality of his subjects by avoiding the bright white reflections so common in glass. For Fritsch, the problem with these reflections is that would have called attention to the surfaces of the glass, not to its transparency. The lighting strategy he ultimately chose was based, in part, on subtractive lighting. Just as glass reflects white light, producing a white reflection mirroring the shape of the source, it can also reflect black. When used as lighting tools, these black reflections are known as subtractive fill.