When we first saw Kenji Aoki's image, we were convinced he had outlined the rims of the glassware with black ink to make their circular shapes pop so boldly. But, no. To get that black, Aoki prevented light from striking them using subtractive lighting techniques. He started by making sure the light behind the glassware was even from edge to edge: He used six Profoto strobe heads (A) beneath his set, powered by two Profoto generators (B). He bounced the strobes' output off a white floor (C) and, to diffuse their output even more, suspended a sheet of translucent acrylic (D) on sawhorses beneath the glasses. Had he placed the glasses directly on this acrylic sheet, they would have been too strongly backlit, showing gray, not black, rims. Instead, he lifted his subjects off the acrylic sheet with a pane of glass (E) on wooden blocks (F), making the glasses' edges go dark gray. Then by turning the room lights off, Aoki let the rims reflect the darkened ceiling above, turning them a shade of full-on black.