Assignment 2: Light Direction with Sweep background

top

front

side with fill

45/45 with fill

45/45 with controlled background spill

Seamless sweep background:

The first still life exercise explored the use of a single plane table-top design. In other words, we were shooting from above, down onto the subject and the table. There was not a horizon line or a separate background plane (such as a wall)

The second design will be, technically, a two plane still life. It will have a table surface and a wall surface, perpendicular to it. However, the transition between these two planes will be moderated through the use of a sweep. As a result, there will be no visible horizon line. Instead we will have a gradual transition between the two planes. This set-up is useful, also, for exploring the use of light fall-off to create the illusion of depth, especially with the use of top-light. It is a "classic," and versatile set-up for photographing things like products, art objects, in a way that is clean, neutral, and perhaps a bit formal.

Exploring light direction:

Orientation of light direction to the subject can affect how that subject appears, especially with regard to a sense of volume, depth and ground.

Again, choose a three-dimensional opaque object (avoid metal, glass or shiny things) that will work for a table-top image. It should have decent height, width and depth.

For your subject, explore the effect of the following light directions. Please use lower contrast light for this assignment, but optimize as you see fit. A soft box is recommended. Meter every time the light is moved.

For this assignment, explore the effects of the following light directions. Variations: For each, shoot with and without reflector fill

• Top*
• Front
• Side
• Side/back
• 45/45
• 45/45 with controlled background spill

*Top light

The top-light design can be used to effectively illuminate many subjects with a good sense of volume. It is a fairly passive lighting design that calls little attention to itself, allowing the subject to be revealed in a faithful way. 

However, this elegant design has another great advantage...it can be used to create a gradient background, through the use of light fall-off. This can lend a sense of formal polish to the photography of objects. While it generally has more commercial application...it can also be used creatively. See chapter 5 in the book.

Due dates:

• Review Chapters 1 and 2. Read: Chapter 5, pages 95-123 (up to Glossy Box)
• Shooting (in groups) due by end of class 2/1
• Individual creative exploration due 2/6, beginning of class

Assignment 1: Single Plane Still Life, Exploring 4 Characteristics of Light

Due: Monday 1/30

Plan to use the lighting studio outside of class. Plan to use strobe equipment, with a single light source, reflector and modifier(s).

Create a single plane still life on your own that includes the variations that you explored in the group exercises, and more. Especially explore variations in light direction. Add shadow play as well. All variations should explore the use of reflector fill (shoot with and without).

The still life should give thoughtful consideration to the choice of object, the table surface, etc. Lighter surfaces will be better for this assignment. This will result in a higher key image.

Studio Demo and Group Exercise 1: Characteristics of Light, part 2

Perform the same exercise again, but with strobe lighting. What are the main differences to consider when using these two kinds of light sources? What remains the same?

Studio Demo and Group Exercise 1: Characteristics of Light

This demonstration and exercise will explore the following characteristics of light.

• Brightness (and exposure)
• Color (and white balance)
• Contrast 
• Direction

Remember that light and lighting are not the same. Light is a thing, while lighting is an activity, what we do with the light. Lighting is the active relationship between light, subject and viewer. 

This exercise will also explore simple, single-plane still-life setups, proper use of light stands, tripod, modifiers, and light meter.

With respect to the four factors of light, as listed above, how does the light differ in the images below? How dies it remain the same? How were these differences achieved?

Exercise: Active versus Passive Light

Shoot 50-100 images for Monday, 1/23

Approximately half of the images should feature passive light.

Approximately half of the images should feature active light (light events)

Strive to make strong examples for each category

Examples, below:

passive

active

passive (mostly)

 active

 passive

active

active

passive

 active



passive

 active

Exercise: In Search of the "Light Event"

For 1/18

Read Chapters 1, 2

Shooting:

Find instances of natural light that are truly unique "events." Look for interesting effects of light on surfaces or objects. Maybe the light itself becomes the subject, as with the patterns created by the crystal doorknob below. Or, alternatively, work with shadows, which are also a kind of light event, but inverse.

Make pictures that isolate these things. Keep distractions out of the frame. Go on an adventure with it. Mornings and late afternoons ("golden hour") with a clear sky can be nice occasions to do this. Prepare to share and discuss what you've found. Shoot many images (50+).

Boring doorknob. Not a"Light Event"

A more interesting doorknob. Definitely a "Light Event"

© Abelardo Morrel

Welcome

Creative Awareness and Use of Light

The course will present foundational skills in photographic studio lighting. Both natural and artificial light sources will be explored for producing aesthetically and conceptually engaging artworks. A wide range of applications will be explored including still life, portraiture, classic lighting problems, and open creative projects. Experimentation and improvisation are highly encouraged. Topics will reference both historical precedents and contemporary practices. The course will culminate with a portfolio of work.

Examples of student work from recent years: