Assignment 9: Lighting Ratios

Individual Work Due: Monday 11/8

COVID statement. Photographing a model who is not wearing a mask carries additional risk of transmission. Please make sure that all persons in the lighting studio are wearing masks. Please open doors and windows to increase ventilation. Please be sure that you or your model do not have COVID symptoms. Vaccination greatly reduces the risk of sickness. A mannequin may be used in place of a human subject. 

1. Set up an appealing portrait
2. Consider model posing, style, outfit, etc.
3. Arrange key light for side light, Rembrandt, or short lighting...explore and decide, sticking with it for the whole exercise. Beauty lighting doesn't work so well for this exercise
4. Shoot five variations, showing the following lighting ratios: 1:1; 1:2; 1:4; 1:8; 1:16
5. Shoot ISO 200, recommended, to avoid fill light "bottoming out" before you get to higher ratios. Remember that fill light can be moved further away to reduce intensity.

1:1

1:2

1:4

1:8

1:16

Individual Work Due: Monday 11/8

1. Set up an appealing portrait
2. Consider model posing, style, outfit, etc.
3. Arrange key light for side light, Rembrandt, or short lighting...explore and decide, sticking with it for the whole exercise. Beauty lighting doesn't work so well for this exercise
4. Shoot five variations, showing the following lighting ratios: 1:1; 1:2; 1:4; 1:8; 1:16
5. Shoot ISO 200, recommended, to avoid fill light "bottoming out" before you get to higher ratios. Remember that fill light can be moved further away to reduce intensity.

Example 1:

key:fill

f11:f11

f11:f8

f11:f5.6

f11:f4.0

f11:f2.8

Example 2, to work with fill light that has "bottomed out."

key:fill

f8:f8

f8:f5.6

f8:f4.0

f8:f2.8 

f11:f2.8 (increase shooting f-stop to f11 to preserve ratio). In this case the key light is turned up one full stop (from f8 to f11), while the fill remains on f2.8 (the lowest possible setting). 

Assignment 8: Light Directions, Portrait #1

Demo: Monday 10/18
Individual Work: Wednesday 10/27

This portrait exercise explores how placement of the key light can affect the rendering of the face. This is one of the most important concepts of portrait lighting design.

Please take care that safe COVID protocols are followed

COVID statement. Photographing a model who is not wearing a mask carries additional risk of transmission. Please make sure that all persons in the lighting studio are wearing masks. Please be sure that you or your model do not have COVID symptoms. If all participants in the photo shoot are vaccinated, risk of COVID is reduced substantially. Please open doors and windows to increase ventilation. A mannequin may be used in place of a human subject. 

Take your time. Correct light position, exposure, appropriate f-stop, focus are all important.

Create portfolio worthy portraits that explore the following:

• Fairly tight framing that features head and shoulders, without cutting off the head
• Low-key background with well-considered spot light on background. 
• Thoughtful styling...put in some planning with outfits, hair, accessories, etc. 
• Use of single key light source 
• Use reflector fill card

For each of the following. Explore how a reflector can be useful to control shadow depth

1. Explore 45/45 lighting, sometimes known as Rembrandt, achieving what is commonly referred to as the "key triangle." Submit 2 versions; one with hard light, one with soft box. 
2. Beauty lighting (top, front) (soft box only)
3. Short Lighting (soft box only)
4. Broad Lighting (soft box only)
5. Side/split lighting (soft box only)
6. Side, profile view (soft box only)

REMBRANDT LIGHTING examples

Rembrandt Lighting, hard/direct light, no fill

Rembrandt Lighting, hard/direct light, with fill

Rembrandt Lighting, soft box

Rembrandt Lighting

BEAUTY/BUTTERFLY LIGHTING examples

Beauty Lighting

Beauty Lighting

SHORT LIGHTING examples

Short Lighting

Short Lighting

BROAD LIGHTING examples

Broad Lighting 

Broad Lighting 

SIDE/SPLIT LIGHTING examples

Side (or split) Lighting

Side (or split) Lighting

SIDE PROFILE LIGHTING examples

Side Profile Lighting

Side Profile Lighting

Assignment 7: black line and white line (transparent) glass

Due: Monday, 10/11. Upload jpegs into UA Box, as per usual

If you don't know how to approach it, glass can difficult to photograph because it is transparent. In order to "see" the glass, we need to exploit either reflections on the surface of the glass, or variations in glass thickness (which may show up as dark lines). These two methods for photographing glass are thus called white-line and black-line methods.

Referring to class demo, create expressive explorations of both dark-line glass and white-line glass approaches. Be selective with glass choices, arrangement and lighting design to create something exciting. We will also use a reflective table surface, created with a piece of Plexiglass on top of black velvet. For this exercise, stick to relatively transparent glass objects only, such as glasses, vases. Color glass is okay, provided that it is not so dark that you can't see through it. Try several examples of each, with different arrangements, as you like!

Note that this assignment uses transparent glass. Eventually, if you find yourself wanting to shoot opaque color glass (like a red wine bottle), say for your upcoming still life project, you would likely shoot that with the white-line technique, combined with more advanced approaches. 

Technical hint: Meter the soft box with a reflective meter reading (no dome), setting the strobe power to 3 stops brighter than your shooting f-stop. For instance, if your camera is set to f11, set the power of the strobe to read f32 (f11->f16->f22->f32 = 3 stops) with a reflective meter reading. Yes, it's unusual; you are metering the light itself with reflective meter reading. Why? Because the light itself is appearing in your photograph, as either the background or a reflected highlight. 

Another hint: Use a long zoom setting on your lens. This will make the background appear larger. Also, if required, move your glassware a tad closer to the background, so that the background fills the frame. You should not see the edges of the soft box and/or the black foam core in your frame. 

Pertinent Reading: Chapter 7

Note, some key terminology in the book differs from what I commonly use, but it is describing the same thing. Reading the chapter should make this clear

FYI, these are equivalent / interchangeable terms:

Black-Line Glass (Chris) = "White Field Lighting" (Book)

White-Line Glass (Chris) = "Black Field Lighting" (Book)

Examples:

black line glass

white line glass

Project 1: Still Life Series

This is a multi-week, individual project where you will be creating a group of images within the general category of "Still Life," using the studio lighting techniques taught thus far in the course.

Plan for your images to engage a specific concept, idea, or subject matter in an artful, compelling way. The subject matter should be something that you find meaningful or fascinating, so that it will sustain your interest for several weeks, and inspire photographs that you will be proud of. Usually, tapping into personal interests can be a great way to do this. 

The concept, idea, or subject matter should be expansive enough to inspire work over three weeks of shooting, and to allow for multiple finished works within the theme, creating a coherent series of related images. 

This project will run through most of October. The expectation is for steady, consistent, shooting sessions in the studio every week. Sign up for studio times early and do not delay your shooting to just prior to critique(s).

Over the course of the project you will be shooting many variations. Keep all variations, delete nothing. From these, submit 6-10 strongest images, after consulting with instructor. Print all, letter size, for final critique. Shoot RAW and focus carefully to ensure that the image will hold up through enlargement. We may be able to run 1-2 larger prints for everyone!

This project will have several important phases and check-points:

Written proposal and discussion with instructor. Due: Wednesday, October 6th. ZOOM

A 1-2 page description of your project as you see it, initially. Please upload a word file or pdf to UA box by class time. 

1. Describe the concept, ideas, and subject you will engage. 
2. Research and find at least two still life photographic artists (well-known, established photographers) who's work may inspire your project. You might consider focusing on 1-2 individual pieces by your chosen artists. These examples should be properly referenced. Start with examples from the class blog and/or Lens Culture or Lenscratch. Images may be included in your proposal on additional pages.
3. One of the examples above should also relate to your subject/concept/set-up. Chose this artist because you admire how they tackled a subject similar to what you will be engaging. What do you gain from learning about their work? What can use use for inspiration?
4. One of the examples above should relate to lighting design. Choose this artist because you admire how they use light/lighting. The subject matter could be very different than your own. Focus on the lighting. How do you think they accomplished their lighting design. How is it active/passive/etc., and what might you glean from that? 
5. Based on (above) propose a general lighting design/approach

Phase 1: Initial explorations. Due: Wednesday, October 13th (critique)

• Based on the working example/demo from class, begin your explorations. Arrange your chosen subject. Explore a few options for your surface/background treatment. For each, also explore a range of lighting variations that best reveal/expresses your subject, based on your proposal
• Plan to share your work in critique, to receive feedback. 

Phase 2: Refine and build-out. Due: Wednesday, October 27th (critique)

• Based on feedback from critique, refine and build-out the majority of your shooting. 
• Plan to share your progress and discuss plans for remaining studio sessions. At least 70%-80% of shooting should be completed during this two-week phase
• Critique

Phase 3: Finalize and print. Due: Wednesday, November 3rd (critique)

• Complete any reshoots
• Optimize/edit full resolution print files
• Print 6-10 images (discuss with instructor about how many prints will best represent your project)
• One file prepared for large-format printing

Assignment 6: Metal and using Direct/Diffuse Reflections

Due: 10/4 (Monday)

Relevant reading: pages 133-160

 Direct reflections maximized; camera within "family of angles." 

 Direct reflections minimized; camera outside "family of angles" (achieved by moving the light, not the camera)

 Direct reflections maximized; camera within "family of angles"

Notes on metering for direct reflections: 

Using an incident meter reading in this exercise will often result in overexposure. Instead, please use a reflective meter reading of the main light source. This will initially provide an exposure that creates reflections that are middle gray. If we want white, we need to raise this value. In general, power the strobe up 2.5 stops above your desired f-stop (on camera), to place these reflections in the range of light gray or white. Why? Direct reflections are roughly the same brightness as the light source, so we need to place these tonal values precisely.

Part 1

Create a visually appealing, single-plane still life, with 1-2 flat, metallic objects. Combine these with less reflective surfaces. You will be shooting down, on the table. Use one light with large soft box. It will be better to keep the camera stationary for all variations, and simply move the light to cause the changes. Explore different light positions that accomplish the following:

Variations:

• Maximum direct reflections ("inside the family of angles")
• Minimize direct reflections ("outside the family of angles")

Part 2

Create a high key, two plane still-life setup with metal object. Object should have some height. 

Use a soft box to maximize direct reflections in a flattering way. Remember, metal is like a mirror, so the highlights are direct reflections of the light source, itself.

Use a file card to add desired reflections on the shadow side of the object.

Use a separate light on the background and render it light gray or white, with shadow effects as desired (such as blinds).

Assignment 5: 2-plane still life, low key; working the options

For this week, we will create a two-plane still life, this time with a low-key (or dark) background.

Incident versus reflective metering

We will introduce a second light source, to create a subtle illumination on the background, and learn how to balance the intensity of this light, with that of the main (key) light, using incident versus reflective meter modes. 

Working the options

We will continue to explore how light direction can change the image.

We will also continue to explore how changing the effective size of the light source changes the contrast produced, and closely related to this, the character of shadow edges. Of course, contrast can be further diminished through diffusion, such as with a soft-box. The brightness of the shadows, in turn, is controlled by the use of fill card.

Assignment due dates:

Wednesday 9/29

Individual work, on your own. Bring files to class 9/29

1. Create an appealing and carefully considered 2-plane still life with a low-key (dark)  background. 
2. The surface treatment of the table should be roughly as bright as middle gray... the example with wood, below, is a good one. It should be light enough to reveal the character of the shadows. Color paper (not too dark) would also work, as would wall paper, etc. 
3. Light the background to obtain a slight gradient, spot effect, or blinds effect. Use a modifier such as barn doors or grid spot. The brightest part of the background should be no lighter than a dark gray. Try some also with the background light off.
4. Optimize light direction for the main light. Try all variations.
5. Try all variations of light character/contrast by changing effective size of light source, using grids, barn doors, direct vs. diffused, gobo, etc.
6. Try these with and without fill card

• Soft box medium distance
• Direct light with moderate barn doors
• Grid spot
• Grid spot with tight barn doors
• Soft box far away
• Soft box close
• ...

Examples below show the illuminated background, as well as changes in light contrast (main/key light). Note: The examples below all have the same general light direction. In your work, please explore at least two distinctly different light directions, and run through the varied light contrasts with each.

Class Vanitas Redux

 Monday, 9/20. Please bring objects, as discussed in class.

Assignment 4. Standard Set-Up 1: White sweep background, exploring light direction

Due dates: Individual shooting, your own subject, Monday, 9/20. 

***Avoid very shiny/highly reflective objects (for now)***

This assignment uses a classic, and quite versatile, lighting design that you can use for just about anything. It produces a clean, "high key" look that is common in advertising and many other applications. It is also scalable; in other words we can create a small setup for small objects, and a larger setup for bigger things... like people. For this exercise, let's stick with small, opaque objects on the table. Max size of objects 6-8 inches tall (for this exercise)

Seamless sweep background:

The first still life exercise explored the use of a single plane table-top design. In other words, we were shooting from above, down onto the subject and the table. There was not a horizon line or a separate background plane (such as a wall)

This design will be, technically, a two plane still life. It will have a table surface and a wall surface, perpendicular to it. However, the transition between these two planes will be moderated through the use of a sweep. As a result, there will be no visible horizon line. Instead we will have a gradual transition between the two planes. This set-up is useful, also, for exploring the use of light fall-off to create the illusion of depth, especially with the use of top-light. It is a "classic," and versatile set-up for photographing things like products, art objects, in a way that is clean, neutral, and timeless.

Exploring light direction:

Orientation of light direction to the subject can affect how that subject appears, especially with regard to a sense of volume, depth and ground.

Again, choose a three-dimensional opaque object (avoid excessively shiny metal or glass objects) that will work for a table-top image. It should have decent height, width and depth.

For your subject, explore the effect of the following light directions. Please use lower contrast light for this assignment, but optimize as you see fit. A soft box is recommended. Meter every time the light is moved.

For this assignment, explore the effects of the following light directions. Variations: For each, shoot with and without reflector fill

• Top
• Top with gradient sweep*
• Side
• 45/45
• Front

The top-light design can be used to effectively illuminate many subjects with a good sense of volume. It is a fairly passive lighting design that calls little attention to itself, allowing the subject to be revealed in a faithful way. 

Gradient Sweep

However, this elegant design has another great advantage...it can be used to create a gradient background, through the use of light fall-off. This can lend a sense of depth and refinement to the photography of objects. While it generally has more commercial application...it can also be used creatively. See chapter 5 in the book.

Some, but not all, the variations:

top light with high-key (white) background and fill

top light with gradient sweep

side with fill

45/45 without fill

45/45 with fill

front light

Reading

For Monday, 9/13

Reading: Chapter 5 (pages 95-123 up through "the glossy box")

Assignment for Monday 9/13

Due Monday 9/13 by class time

On your own, or with a partner, please repeat Assignment 3, but for only one light direction. Set up a new, fresh, still life with the same sort of arrangement (single plane, light tonality surface-treatment, small non-shiny objects, etc.)

To start, explore various light directions in order to determine the optimal direction for your still life. Then please stick with this light direction for the whole exercise. Cover all light variations...direct, direct/bounce, active/"blinds", diffuse, diffuse/bounce.