Using Strobes

Set up a minimal but tasteful still life with 1-2 objects (non-reflective). The table should be covered with fabric or some kind of interesting material. Set the table up several feet from the background. The background should be a fabric, texture, etc.

Light 1:

Use one strobe light as a key/main light. Diffuse/modify/position as required to vary direction, angle, and character. Try numerous variations.

Light 2:

Use another strobe mounted on a small stand to light your background

Lighting Ratios:

Explore various proportions between key light and background light intensity:

1:1; The intensity of light on subject and light on background are equal

1:2; The intensity of background light is half the intensity on the subject light

1:4; The intensity of background light is a quarter the intensity of the subject light

Light Meter

1. Use the incident strobe meter to determine exposures for your shot. Remember that the meter should be placed right in front of the subject, pointing toward the lens to measure your exposure
2. To determine light ratios, point the meter toward the light source your are measuring, while shielding it from the other light source. Note the difference in f-stops to calculate ratios. Note that the measurements are only valid for comparisons. To determine exposure for your shot, use method above.

Due: 2/7

Choose the group of images that have the most successful light placement, composition, etc. Print one of each light ratio for this set (Three prints total) Turn in files as well (1200x1200 pixels)

4 factors of lighting

1. Color
2. Angle
3. Intensity
4. Character (Contrast)

The above four factors, in some combination or another, contribute to all possible lighting designs. Is this true?

Exercise:

Choose a solid (relatively) non-glossy object. Use a single light source and reflector. Vary direction, angle, intensity and character of the light to create a series of still life images that demonstrates the variation. Choose an interesting object and complementary background. How do your choices create volume/presence in your object? What brings it to life? What creates depth? (review reading from last week) For at least one, create a sense of depth with your background (using a sweep with light fall-off or otherwise).

Due: Images, prints. One for each variation. 1/31 class-time

Active and Passive Light

DUE: 1/26

Edit group of images down to strongest example of each variation below. Optimize files and make prints for each. Hold on to 2nd and 3rd choices—especially if its hard to decide...

Which of the images above displays active light? Passive? Why?

Check out work by: Emily Hanako Momohara

http://www.ehmomohara.com/koden.html

Spend some time finding intriguing objects to photograph.... make it exciting for yourself. Select 1-2. Can be anything... antiques, personal sacred objects, books, shoes, articles of clothing, or even the human form or parts thereof (hands, for instance). For now, stick to non-reflective objects.

Create an appealing still life arrangement. Remember that the background is part of your scene—how will you deal with it so it supports your subject?

For a single subject explore the following. For all, use a single light source and reflector as required. Shoot at least 72 exposures—keep pushing for new variations.

Important considerations when designing these variations are:

• Relative size of the light source. Smaller light=more contrast, harder shadows. Larger light=lower contrast, softer shadows. Try different size lights... studio hot light, flash light, desk lamp, etc. Relative size can also be controlled with distance—to make a light source "larger", just move it closer to the subject.
• Diffusion. Tracing paper can be used to soften the light. Don't let the paper get too close to the light and catch fire. That wouldn't be good.
• Diffusing the light can also have the effect of making your light source larger. A small light illuminating a sheet of tracing paper becomes a large soft-box.

1. Create a lighting scenario that is active—where the light itself becomes the "lead character".
2. Create a passive lighting design—where the light simply reveals the subject and doesn't draw attention to itself.
3. Create a supportive lighting design, where the light plays an active, but ultimately supportive role. An example would be strong mood lighting, or atmospheric effect that embraces your subject. Hint: Diffusing the light variably can help. Shine your light through artificial blinds (as in class), dirty glass, or even a plant—something to break up the uniformity and imply a sense of setting. Smoke? (try smoking the set with incense)
4. See what you get with natural light. Use your gobos (foam core, mat board, or even dark sheet) to partially block windows and control the light....we can control natural light almost as much as we can artificial light.

Reading: pages 79-102. Possible quiz on reading next Wednesday

Tuning-in to Light

For 1/19

Read Chapters 1,2

Shooting:

Find instances of natural light that are truly unique events. Look for interesting effects of light on surface, reflections, shadows, etc. Make pictures that isolate these things. Keep distractions out of the frame. Go on an adventure with it. Morning and late afternoon ("golden hour") can be nice times to do this. Prepare to discuss/defend what you've found. Shoot many images (50+), plan to show 3-5.

Photographic Studio Lighitng

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 is highly encouraged. Topics will reference both historical precedents and contemporary practices. The course will culminate with a portfolio of work.