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