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.


IMG_0422My Pin Hole Camera

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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

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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

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

6) Successful image created with 26 sec exposure

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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.





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.



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.



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.



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.



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.



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