Art 338 Studio Lighting FA 2021

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

Create an appealing and carefully considered 2-plane still life with a low-key (dark) background.
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.
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.
Optimize light direction for the main light. Try all variations.
Try all variations of light character/contrast by changing effective size of light source, using grids, barn doors, direct vs. diffused, gobo, etc.
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.

Assignment 3: Using the Characteristics of Light

This demonstration and exercise will explore the following four characteristics of light.

Brightness (and exposure)
Contrast: Low versus High
Direction: Explore at least two directions
Color (and white balance)

Remember that light and lighting are not the same. Light is a thing, while lighting is an activity, what we do with the light.

Lighting = Choices!

This exercise will also explore simple, single-plane still-life setups, proper use of strobes, light stands, tripod, modifiers, and light meter.

In class assignment for Wednesday, 9/1

(Bring small still life object(s) to class)

Note: Use ISO 200

With a partner, book a three-hour slot to work in the studio
Select a small, three dimensional object that can easily fit on a table-top, such as the bunch of bananas below. The object should have these characteristics:

Have personal meaning
Not be made from shiny metal or transparent glass

Select a bright surface, such as white or bright color paper, (or similar, as long as it is a bright surface, such as the wallpaper below).
Build a single-plane still-life, example below
Position the camera on a tripod, pointing down onto the table and cropped close so that you do not see the edges of the table
Once composition and framing are optimized...(try some variations first), build the lighting designs as follows. Keep the same composition for all variations

Lighting direction 1:

High contrast with direct strobe. Determine correct exposure with the light meter. Make the picture.
Same as above, but add bounce fill to brighten the hard-edged shadows. No need to re-meter because the light has not been modified. Make the picture.
"Light Event" variation with faux blinds (not pictured below). Exposure settings can remain the same as above.
Low contrast with diffused strobe (tracing paper). Re-determine correct exposure with the light meter (because the light has been modified). Make the picture.
Same as above, but add bounce fill to brighten the soft-edged shadows. No need to re-meter because the light has not been modified. Make the picture.

Lighting direction 2: Change the direction of the main light and go through the same sequence for the new light direction

Each partner should go through the complete exercise with their own object, with the other person assisting. Be sure to use the correct white balance on your camera (strobe setting), and meter every time the main light is moved or altered in any way.

Examples:

Direct strobe; note harder edge shadows

Direct strobe with bounce fill; note harder edge shadows, but lighter.

Diffused strobe; note soft-edge shadows.

Diffused strobe; note soft-edge shadows, but lighter

Assignment 2A: Passive versus Active NATURAL Light

Shoot many more, but plan to turn in 20 images total on Monday, 8/30

Shoot outdoors, natural light, daylight conditions, camera RAW

10 images should clearly feature active light (light events)
10 images should clearly feature passive light
Strive to make strong examples for each category

Examples, below. Which ones are Passive? Which ones are Active? Why?

Assignment 2B: Passive versus Active STUDIO Light

For Monday, 8/30

Using the studio setup from class/demo, set up a simple still life situated fairly close to the grey background. The still life arrangement should be "tall" versus "wide", to be shot in a vertical (portrait) orientation. Please choose light tone/color object(s), avoiding shiny plastic, metal or glass.

Possibilities: Gallon of milk, doll/figurine, flowers, etc.

Create two versions of this still life, one with active lighting, one with passive. Keep composition and framing same for both. Using tripod can help with this. See examples, below.

The active light will use a faux blinds "gobo," with direct light, while the passive example will use diffuse light (light diffused with tracing paper).

Use the light meter to determine correct exposure, as demonstrated in class. Remember to re-meter, and adjust the power of the strobe, for each version.

Let's use ISO 400 for this exercise, and f11, white balance set to strobe. Make sure camera and light meter setting match.

Active light

Passive light

F-stops!

Here's a handy chart that shows the main, whole, f-stop numbers, as well as the (often confusing) 1/3 or 1/2 F-stops that you camera is capable of. To keep things simple in the studio, I find it easiest to aim for whole f-stop numbers (the left column).

Reading Assignment 1

Reading
Due: Monday 8/30

Chapters 1-2

Please have a solid grasp of the main topics covered in the reading. Be prepared to discuss intelligently, if called upon. These are the important ones:

"Light" versus "lighting"
Principles of light
What is light?
How can light described? (3 main ways)