Archive for April, 2013


To help strengthen our knowledge and confidence with outdoor lighting and the required equipment, we were set another workshop, however had less supervision and were given small tasks to complete.

The first task was lighting the subject with one light, the second was to light the subject with two. The third task was you use smaller lights that could be attached to the top of the camera and held where necessary.

It was a very interesting workshop as we had to work in smaller groups and were expected to know what we were doing. I think we showed a good level on competency and understanding. Any problems we had with the equipment seemed to be technical issues out of our control.

 

First Task: One light

IMG_8592 IMG_8593

Light facing away from me but with the silver umbrella so it reflects back on me.

IMG_8594 IMG_8595

With the Light behind me, sun in front of me, behind the camera. No silver reflector, but still the white umbrella so softer light.

IMG_8596 IMG_8597 IMG_8598 IMG_8602 IMG_8604 IMG_8605

200_0001 200_0003 200_0005

 

With the light behind me, but with the sun behind me, in front of the camera

IMG_8607 IMG_8608

200_0006 200_0008

Below image is where the flash didn’t activate.

200_0007

 

Light to the side

IMG_8609 IMG_8610

 

We experimented with varying flash strengths.

200_0011 200_0012 200_0013

 

 

Second Task: Two lights

Sadly one of the lights was faulty, so we didn’t get to take any images, but we did get photographs of our planned set up at least.

200_0015 IMG_8612 IMG_8613 IMG_8614 IMG_8616

 

Task 3: Smaller fast lights

These are incredibly useful pieces of equipment that I intend to use in the future. Really like them, though there battery drains fast.

We started by doing a ‘What not to do photo’

We were told that if you put your model next to a surface to bounce the light off of, the models face will pick up its colour. We decided to show an example with a blue surface.

200_0019 200_0020 200_0021 200_0022IMG_8620IMG_8628

 

IMG_8633 IMG_8635

200_0028 200_0029200_0024 200_0025 200_0027  200_0030 200_0031

IMG_8636 IMG_8638

 

 

 

 

 

Studio Workshop

We were given multiple small tasks based around lighting a subject in different and interesting ways in the studio. I really enjoyed this. It made me feel a lot more confident using the studio and its equipment.

 

DSC_3539 DSC_3541DSC_3535 DSC_3536 DSC_3537 DSC_3538 DSC_3540 DSC_3542

No side reflector on these more contrasted images.

 

DSC_3543 DSC_3544 DSC_3545 DSC_3546 DSC_3547

 

Practicing with different ways to use the reflectors.

 

DSC_3563 DSC_3564DSC_3548DSC_3553DSC_3554DSC_3555DSC_3561DSC_3562

 

DSC_3565DSC_3566DSC_3567DSC_3568DSC_3569

These images below were created using the honeycomb light cover.

DSC_3570DSC_3571DSC_3572DSC_3573DSC_3574

We were given a camera, a light, a light-box, a light meter and a flash trigger. With this we were asked to experiment with the different ways you can mix Natural and Unnatural light together.

These are the images from the morning.

Under tunnel, natural light to the right. Unnatural light to the right as well.

We were in a group and had 2nd years helping us. It was a good experiment as it also helped us to become better acquainted with the studio equipment.

IMG_7121 IMG_7123 IMG_7124 IMG_7125 IMG_7126 IMG_7128IMG_7130

IMG_7132 IMG_7133 IMG_7137

IMG_7138

IMG_7140 IMG_7141

Natural light behind subject. Studio light in front of subject (next to the camera)

IMG_7142 IMG_7143

Same set up as above, but manipulated the strength of the studio light and the camera settings so sky detail wasn’t overexposed but subject was still highlighted.

IMG_7145_2 IMG_7146_2 IMG_7147 IMG_7148 IMG_7149 IMG_7151 IMG_7152

Further experimentation with lighting

IMG_7153 IMG_7154 IMG_7155 IMG_7156 IMG_7157 IMG_7158 IMG_7159 IMG_7160 IMG_7161 IMG_7162 IMG_7163 IMG_7164

Working with two subjects at different distances

IMG_7165 IMG_7166 IMG_7167 IMG_7169 IMG_7170 IMG_7171 IMG_7172 IMG_7173 IMG_7174 IMG_7175

We have recently been inducted into how to use the studio and its equipment. It was a very useful induction that I found particularly interesting as I have never been properly educated in how to use studios lighting/ equipment. I will have to work on this in my spare time however, as confidence appears to be key to being able to use the equipment in a useful manner.

IMG_0433The bag the lighting equipment comes in, can also be used outdoors with a battery,

IMG_0434How to properly set up the tripod

IMG_0435 Make sure this part (which attaches to the tripod) is properly secure before letting go, as it can fall and break the lamp if it doesn’t have its cover on. IMG_0436The side of the light. left controls Flash, Right controls lamp.

IMG_0437Back of the light.

 

IMG_0439You have to press this to remove the light covers.

IMG_0440The larger bulb is the lamp (doesn’t have to be turned on) and the smaller one is the flash.

IMG_0442How to lock covers in place

IMG_0443How to attach umbrella

IMG_0444Umbrella attatched

IMG_0445You can remove the silver lining so the white lining softens the light, or you can remove the white lining at which point you have the light facing ‘away’ from the model as the silver umbrella will reflect the light.

IMG_0446You can experiment with the umbrella being partly open for different lighting effects.

IMG_0447The silver lining removed. Very easy to put back on.

IMG_0449 You must turn this switch to ‘on’ for the studio lights attached to the ceiling to work

IMG_0452The studio lights attached to the ceiling. With Soft-boxes attached.

IMG_0454The metal ring that is part of the soft-box you can place over the lights.

IMG_0456Must put each metal rob into the larger holes.

IMG_0458The soft box attached

IMG_0459Soft box attached.

IMG_0460The white lining that is attached by velcro to the inside of the soft-box

IMG_0461How to attach the lining.

IMG_0462Lining Attached

IMG_0463How to attach the larger outer lining, by the velcro, to the soft-box

IMG_0464Attach this black material to the back to stop light leak

IMG_0465Do not attach this however until AFTER it is attached to the light.

IMG_0467Power dial controls the flash, lamp dial control the lamp.

IMG_0468

The lamp button turns the lamp on and off

The beep button, when on, will make the light beep when it is charged and ready for flash.

The cell button means that it will connect to the other lights so they will flash as well.

IMG_0471When you wish to take a light reading, have it set on the bolt WITHOUT THE C (the one with the C is for when you attach the light meter to the light for the flash reading with a cable, the one without the C is for when it is not connected by a cable.)

IMG_0473You press the button and the box around the bolt with flash, when you set the flash off only then will you be given a complete reading based on the lighting with flash.

IMG_0475A complete reading.

Note: Have your camera at a maximum shutter speed of 125, otherwise the flash will not be able to keep up with your camera.

IMG_0481A reflector, you can put this in a variety of places during a shoot to affect how the light bounces off/ hits the subject.

IMG_0486This is where you plug the Pulsar into the light.

IMG_0490 A pulsar is used to connect your camera with the light for the flash. Lead goes in the Sync Port. 

IMG_0492You need two, one plugged into the light and one on top of the camera. One must be on Rx (Receive) and the other on Tx (Transmit)

IMG_0493You must make sure that both Pulsars are on the same frequency. There is this side frequency that goes from A,B,C,D,E,F and there is another on the pulsar that goes 1,2,3,4. The pulsars must be the same on BOTH of these switches.

IMG_0494The pulsar attached to the top of the camera.

IMG_0495This box is used to create a circle of light reflected in the models eyes that is considered very attractive in fashion photography.

IMG_0496A snoot. Creates a very strong, controlled light.

IMG_0497

IMG_0498Use these chains to pull the backdrops up and down.

IMG_0500When the back drop is not in use, roll it back so it is not in the way. Also, DO NOT step on it with shoes, as it wears quickly.

Today we were shown how to use lighting diagrams. It is an incredibly useful tool that is also easy to use. I really like the simple system and intend to use it whenever appropriate during my course. It means I turn my sketches into more readable set-up concepts.

http://www.lightingdiagrams.com/Creator

Dean Collins – corporate work

‘The Corporate Ladder’

Can you follow everything he is saying about lighting his shoot? – No, he made it so complicated

Three lights, below, behind and in front

  • Record everything you do
  • Create Diagrams of what you do
  • Share your diagrams with people

Lighting Diagram Creater

  • Won’t be able to use this all the time
  • Make sketches and then lighting diagram from sketches when you have the chance
  • Lightingdiagrams.com
  • Bottom right – launch diagram creator

Screen Shot 2013-04-23 at 11.04.31

Lighting Lecture

I found this lecture interesting, as not only was it a lecture making us look at the technical side of lighting, but it also made us consider how lighting can affect the mood of a piece of work. It can also be a show of power in a way. When we see an incredibly intricate and large lighting set up, like those of Gregory Crewdson, it feels and looks impressive and expensive. I feel he is a good example as I also am a massive fan of his work and have been for a while now.

The thing is, you don’t need such a large setup to produce good work. And it doesn’t have to be insanely complicated. Once you know what you are doing, you can use the equipment as well as you can a limb. It’s all about practice and perseverance, and a willingness to try new things.

SHOWstudio and Topshop – Present

SHOWstudio: Nick Knight, Karlie Kloss, Kate Phelan for Topshop

When you watch a video or movie, consider what you like and don’t like. Pause and analyse the moments you love. Figure out WHY you love it.

Screen Shot 2013-04-23 at 10.10.43 Screen Shot 2013-04-23 at 10.10.24

 

From the SHOWstudio video, this was the moment that I liked the most regarding lighting. I thought it was dynamic and the light with nobody underneath it was a hint of things to follow in the video. I think the models hair is backlit and I believe they have a used a blue or purple gel on their light to create the colder purple tone that goes so well with her light skin, hair and dress. I looks like there is a light to the left of the model, and possible one  coming up, highlighting the bottom of the back of her legs. It could be that that bottom lighting is, in fact, the circle of light we see on the bottom. As it doesn’t seem to be drowning out any of the other lighting on the model, I doubt it is coming from the top as it is obviously quite strong to create such a dynamic circle on the floor. So I believe that light is in fact coming from the floor, or being put there from a light coming from the side, not from the top.

The problem is, no matter how hard to try and figure out the lighting, it is so difficult in some cases to guess what techniques they have used, as some techniques will have a similar affect to others and are indistinguishable.

2 Cor. 4.6

Philip-Lorca Dicorcia – male prostitutes

Put things in connotations by looking at the light in the photographs

The Kelvin Scale

  • Colour Temperature Chart
  • You can change a lights colour by putting a colour gel over the flash.

Chrystel Lebas

  • ‘Blue is obscurity becoming visible.’
  • Dog to wolf
  • Work is all about light
  • ‘Azure’
  • Good of the day to the Dark of the night

Pauls Work

  • Tungsten light
  • Uses a yellow light to emphasise the sickly feeling of the photograph
  • Honestly this photograph makes me want to vomit, the photograph is incredibly effective in that respect.

Photo of Jesus Christ on the cross

  • Light coming from above
  • Very red and yellow
  • Dark, aggressive, the blur makes the image look ghostly
  • Andres Serrano
  • Submerged important figures in his own bodily fluid
  • ‘piss christ’
  • It wasn’t an attack on religion
  • He was actually talking about the cheapening of religion
  • Cheap plastic figures to show important figures

Tim and Sue

  • Contemporary artists
  • Lighting very important for their images
  • Not just about light, it’s just as important what you put in the darkness

Plato’s Cave

Henry Peach Robinson – 1858

  • Photographer realized his own limitations with lighting
  • Photographed the scene 5 times to then piece back together and get the perfect lighting for each area of image
  • Darkness – death, the unknown
  • Dying girl bathed in light – pure, going to ascend, innocent

Task Two Introduction

Your should now have at least one image taken by your pinhole cameras, so should be in a position to control using your own camera. 

Using your pinhole cameras, task 2requires you to investigate photographically,
the personality of an open place/spacewhen it is devoid of human presence.
You will have little control of the light with your hand-made (pin hole) camera so
you will have to test and learn how it interprets the world. As the pinhole camera
is relatively rudimentary equipment, (unless you make a more sophisticated
version) this task will help you to achieve the learning outcome of appropriate
pre-visualisation skills. Through your tests, you will learn to understand how
your vision is transformed into an image and a permanent negative can be
created.
Reflect on the personality of place/space you are representing (it may be a public
space where people convene or a more private space) and how it is momentarily
transformed when it is populated by certain individuals or groups of people and
consider how you can document this ‘non’ space (Auge 95).
Your submitted work must be original to you. Using your acquired printing skills
to enhance your assessed task, you will need to submit 2 – 4 final photographic
prints which represent the space you are documenting. Remember this task is
part of the assessed work for this module so you are advised to spend time
building on and improving your initial starting point.
Your finished artefacts and a digital copy (on disk) will need to be submitted as
part of your final submission for 152MC on May 21 at 4pm, along with a
coversheet (NB coversheets can be downloaded from the 152MC moodle
homepage) together with your archived blog.
If you fail to hand in this task as part of your assessment, your grade will be
affected. If your work is deemed of a low standard you will have an opportunity
to resubmit your work. In which case CM will discuss this with you directly, NB
submissions are capped at 40%. If you are unable to meet the deadline you can
apply for an extension via the administration department. CU you has a strict
policy on hand in dates, extensions are only given in extenuating circumstances
and will need to be supported by 3rd party evidence.
Please see Clare Jeffs in reception if you need to apply for an extension.

 

References
Auge M (95) Non Spaces, Verso Publishing UK
In which Auge investigates the profound alteration that has resulted from our nvasion of non-places.

David Leventi – From his series ‘Basket Ball Arenas’

davidleventi.com

Paul Graham – Troubled Land

Human presence on the landscape

How people personalised landscapes

Tribal

Political points in subtle ways

Paul Seawright – Hidden 2002

Presence people have in war

Afghanistan

Photo similar to Roger Fenton’s (The valley of the shadow of death)

David Spero – Settlement Project

Sally Mann – work on pinhole

Tom Hunter – Public spaces Public stages

Look at his website

Relationship between using Pinhole and what he is photographing

blinkythepinholecamera.tumblr.com

Review what they are doing with their pinhole cameras

Class Times – Monday: 9.30 – 3pm + Friday: 9.30 – 1pm

Caroline’s Office Hours: Tuesday: 3-4pm + Friday: 1-2pm

Studios will be booked every Tuesday and Friday for our use (negotiate with colleagues)

Will begin with Workshops – refreshers and how to use studio lighting etc.

Previsualisation

Jeff Wall – A Sudden Gust of Wind 1993 – based on Katsushika Hokusai’s ‘Ejiri in Suruga Province’

Jeff Wall previsualised the image he wanted to create

www.youtube.com Jeff Wall ‘I begin by not photographing’

Real moments reconstructed after being seen but not photographed

Jeff Wall – ‘Tattoos and Shadows’

Gregory Crewdson

Influenced by David Lynch

Look on V&A website

Inexplicable and often disturbing sets

Task One

Create an instruction manual

Manual should be an on going task, which charts all the technical tests and data (including how to make a pinhole camera) learnt in the workshops during this module.

To elaborate on research add to the moodle online forum good/bad manuals

It is good practice to make notes about your revisualisation skills.

  1. Make a working Pinhole camera
  2. Research and collect a minimum of ten interesting uses of light in photography/ painting. Articulate why you find them interesting and how you feel the use of lighting affects your emotional response to the image
  3. Source and bring 3-5 portable red images to the first class of the term, for use in a still life set up.

1)

IMG_0422My Pin Hole Camera

IMG_0423 IMG_0424

My photographs made with the pinhole camera.

1) 15 sec exposure, overexposed but can make out image

2) 10 sec exposure, overexposed and blurry due to movement

1)IMG_0425 2)IMG_0426

3) 5 sec exposure, successful negative though perhaps a little blurry due to camera shake

4) First contact sheet testing exposure times, blurry due to not using glass to make sure two pieces of paper were properly pressed against each other during exposure

3)IMG_04274) IMG_0428

5) Second contact sheet, successful, testing exposures between 20 and 40 seconds

6) Successful image created with 26 sec exposure

5)IMG_04296) IMG_0430

7) Exposure still at 26 sec, but with a high contrast light filter to see what would happen.  Far to bright, complete lack of detail.

7)IMG_0431

 

2)

chiaroscuro-valuescale

The use of light + shadows creates the 3dimensional affect we see here.

NPG x136665; Actors' Last Supper by Alistair Morrison

 

This photograph by Alistair Morrison mimics the iconic Last Supper painting by Leonardo Da Vinci, using famous actors. Having seen this photograph in the National Portrait Gallery, I know how striking this image is. The use of lighting draws your eye to the actors faces, their expressions and postures. You cannot help but study them. I feel the lighting brings a sense of tension to the image and makes it an artwork in it’s own right, instead of a mere copy of Da Vinci’s painting.

chiaroscuro_by_anarkiarockphoto-d5384g8

 

This images lighting immediately draws you to the lone subject sitting amongst the rubble. The rubble itself has rather monotone lighting, while the woman would appear to be almost overexposed. The surroundings and the fact she is on her own suggest sadness, but the lighting highlights the smile on her face and gives me the impression of joy, perhaps of hope that brighter things are coming.

chiaroscuro by horatio

 

The lighting in this image makes the whole photo feel incredibly ominous to me. Everything is so incredibly clean but also dark, bar a small patch of light in the background and the flood of light coming from that solitary room. The fact their is such a strong source of light but you cannot see what is beyond it reminds me very much of supernatural horrors that you see in movies.

2419226190_8f1693b5a3_m

 

The shadows here, caused by the lighting, highlight the bones and structure of the model, while also resorting her eyes to nothing but black pits. Because you cannot see the subjects eyes, it becomes terrifying, and reduces the model to something less than human, while other physical features are pronounced.

The-Incredulity-of-Saint-Thomas-by-Caravaggio_chiaroscuro_web-art-academy

 

Caravaggio’s painting ‘The Incredulity of Saint Thomas’, was the first painting I was shown when I taught the term Chiaroscuro. Caravaggio perfected the technique, giving his paintings beautiful depth and realism. It is such an iconic work of art, the finger entering Jesus’ wound highlighting the amazing depth and 3d realism that could be created by implementing the lighting technique.

Christopher Joseph Gonzalez An

 

This photograph appears joyful by the expression of the cherub statue. Yet the use of lighting creates a strong juxta pose between where the statue is facing and behind it, which goes through to be being entirely black. This gives what could of been an incredibly boring photo of a lifeless statue, added depth and creates the idea of life in the photograph.

Diago Fazio

 

This image, by Diago Fazio, is actually a hyper realistic pencil drawing. Fazio’s use of shadow is key to creating something that appears so photographic, when it is, in fact, created with graphite and rubber. Shadows and lighting are key to creating something that the viewer can believe in, even with photographs. If the image appears flat, it will look boring and unrealistic, whether drawn or photographed.

chiaroscuro_by_FotobyVarvar

 

This peculiar photograph uses shadows and light to highlight the curves and separations of the two models, and also creates an atmosphere with dark and sexual undertones.

Heavenly Love and Earthly Love by Giovanni Baglione 1602-1603

This painting shows how, even with two subjects in the frame, changing the lighting on each of them can show personalities. The darker shadows on the above subject make him appear far more aggressive and ‘evil’ to me. And the below figure, with virtually no shadows and brighter lighting appears far more innocent and submissive.

 

3)

We arranged a still life in the centre of the table made up of peoples red objects. We then got a piece of paper, a stick of charcoal and an eraser each. We covered our pieces of paper in the charcoal so the paper was black, and then used the rubber to draw the objects, focusing on refections and the light source.

This task helped us to focus on how the light worked in the still life, creating depth and contrast.

It was an interesting task, and a lot of fun to complete.

IMG_0413 IMG_0415IMG_0418 Large charcoal drawing of still life

IMG_0419 IMG_0421 Drawing of one specific object in still life