Unusual Lighting Approaches

For this week, we will explore some unusual techniques. This is the last week of formal demos.

Double Light Technique

Bare Bulb Technique

Multiple pops

Mixed Continuous/hotlight and Strobe

Mixed Daylight and Strobe

Shoot refined examples of each

Portrait Lighting, Part 3

Low Key Lighting

Dark background. Create an image where the figure feels like it is emerging from the dark, using focused lighting to create strategic highlights to delineate forms.

Consider and try:

• Profile, lit with single light. Try grid, diffused grid, softbox. Profile often work better with a slightly lowered camera position (shooting at slight angle up), to separate head from shoulders
• Front, broad or short with a grid spot. Also try with other light sources
• Front, broad, short or profile with right lighting and/or kickers
• Try some other arrangements you invent....

High Key Lighting

Light or blown-out background. Usually soft rendering of skin, uniform tones, in a bright, airy scene. Many fashion is shot this way.

Consider and try:

• "beauty" or "butterfly" lighting. (Why is it called butterfly?) Try a single softbox placed above the camera, with a reflector below. Essentially, the diagram on pages 220 & 221. Also try twin umbrellas, forming a "wall of light"

Try variations, and then refine the best for one high key, and one low key, portfolio image.

Human Form

Create a coherent group of images that use the human figure in some way. The images should be ambitious and sophisticated, using appropriate lighting design.

The work will be evaluated on:

Proposal—who are your inspirations for lighting? Discuss at least three.
Originality of Idea/Ambitiousness of Imagery
Arrangement
Lighting Design
Photographic Craft and Technique

Prelim Critique: 4/2 (Monday)
Final Critique: 4/11 (Wednesday)

Portrait Lighting, part 2

This week we will explore a multiple light portrait setup. The set-up is very similar to the example in the book (page 211)

• Position model in front of background.
• Arrange a main light for your model. Choose rembrandt, broad or short. For now, use a soft box or umbrella for this light. Arrange it precisely. 
• Meter very carefully.
• Set up a fill light. 
• Explore fill light ratios: 1:1, 1:2, 1:4, 1:8, 1:none, reflector. 
• Settle on what you think is the best ratio for now. 
• Add a background light. Initially, set the intensity to half of the main light, but vary if required. Positioning is important—place the glow of the background strategically.
• Add a hair light. Initially, set the intensity to half of the main light, but vary if required
• Add a kicker. Initially, set the intensity to half of the main light, but vary if required

Shoot the set-up progressively. Make an image that captures each new light, as you add it.

Next, download all images and evaluate on screen. What is the overall balance of all light sources? What ratios should be modified? What needs to be repositioned? Ask instructor and classmates for feedback. Based on this, plan for best balance of lights and shoot a portfolio piece.

1:1

1:2

1:4

1:8

1:none

1:reflector

background added

hair light added

kicker added

Portrait Lighting, part 1

We will be exploring common light placement for portraits, as well as the effects of different light sources.

Read: Pages 193-206 (up to "Additional Lights")

We will explore three common light directions, plus one "experimental" direction that you come up with. For review, read the book for descriptions and positioning.

• Rembrandt ("Key Triangle" in book)
• Broad Lighting
• Short Lighting
• ?????

We will stick to a single light source to really isolate what it is doing. For each of the above, explore the effects of:

• Strobe with reflector, perhaps barn doors
• Umbrella, reflected, white
• Umbrella, reflected, silver
• Umbrella, shoot through
• Soft box
• Use a reflector, if desired, to control shadow density
• For the umbrella or softbox, try some variations changing the distance from light to the subject. Note that this effectively changes the light size.

Be sure to meter each time the light source is changed or modified. This step is very important.

When you evaluate your work, make note of the visual effects created by the different light sources. How do they change how the subject appears? How do they affect mood or a sense of drama? What would you use for a formal portrait versus something more "expressive". Prepare to share and discuss in class.

metal and glass

Some examples from todays's demo, cropped and straightened (more or less).

black line

white line 

white line

metal

metal

Project 1; Expressive "still life"

Create a group of expressive still life images around a common theme or object(s). Spend ample time researching how other photographers have approached something similar—in particular study their use of arrangement and lighting. Find, fabricate and arrange subject matter with a supportive background and smart lighting design to complete your visual idea. The human form (or parts thereof) can be used as an "object", but the images should not read as portraits.

The work will be evaluated on the following:

• Overall sophistication—do study the work of other artists. 
• Original, creative or unusual subject matter
• Arrangement and background supports subject matter and/or visual idea
• Lighting design should be created to support subject matter and make a strong visual statement. It should exercise skills covered thus far in class. 
• Image design and composition. Pay attention to tone, color, arrangement
• Technical skills; exposure, focus, motion control, depth of field, etc.

Turn in:

• 5 images, for each:
• Jpegs
• Layered PSD Files
• Quality prints
• 1 page summary of the artists/photographers that directly influenced the project. In particular, speak to lighting and arrangement stylistic choices. 

Due Dates:

February 15, preliminary critique

February 22, final critique