LIGHTING
Flash Lighting
fig 125
fig 98 was taken using camera flash late at night. I thought the effect created by the trees with fairly lights attached would look quite interesting against the dark background of the night sky, and I do like the finished image despite it being unconventional with no particular subject.
fig 126
PICTURE OF SCHOOL FRIEND (taken with 18-15mm 3.5 Canon Lens)
by Fabiola Mann
Taken 05/02/14 at school
fig 127
by Fabiola Mann
Taken 05/02/14 at school exploring large straight objects as "blockers" to add framing in portraiture.
fig 127
fig 128
by Fabiola Mann
Taken 05/02/14 at school
LIGHT PAINTINGS
fig 129
The above picture was taken with Picasso sketching images in the air using a small flashlight in a dark room. this was one of Picasso's first attempts at experimentation with this technique, having been introduced to it via Gjon Mili, and famous lighting innovator. The picture is called "Centaur" but on close inspection seems to resemble one of Picasso's other well known pictures - specifically "Guernica" a depiction of a massacre in Spain.
fig 130 Picasso
Result of experimentation with longer shutter speeds and movement of light (all taken Gower Street, London, Feb 1st with rented 1.4 50mm lens)
fig 131
In the spirit of experimentation with light, I decided to try moving the camera as opposed to staying still whilst the subject moved. The shutter speed was approximately 5", and as I was moving the camera, I found I could create circles or spirals within the picture with the light source. These photographs were taken in Cambridge circus, January 2014.
fig 132
fig 133
fig 134
fig 135
Natural Lighting
fig 136
Taken in Trafalgar Square early morningJan 2014
fig 137
Man Leaping Across Eiffel Tower - Bresson
Above is one of my favourite Cartier Bresson pictures. The use of silhouettes add a beautifully surreal feel to the picture, and the contrast between light and dark draw focus to the subjects, even though they do not strictly obey the rule of thirds. Then main thing is that all three people are captured in a moment of rapid movement and emotion. A similar effect is adopted in the picture below, often considered one of Cartier Bresson's best photographs as is foreshadows the holocaust.
fig 138
by
Cartier Bresson 1932
fig 139
I tried to capture a similar effect in this picture as with the Cartier' Bresson, however in hindsight, perhaps the shutter speed should have been faster, with a slightly higher aperture. This would produce a darker image, with the subjects more in focus. What went well in this photograph was the fact that I did manage to capture people in motion, and I like the fact that the Big Ben clock tower is visible in the background, replacing the Eiffel Tower in Cartier Bresson's picture. 
fig 142
CANDLE POWER
fig 143
Artificial (Street) Lighting
fig 144
fig 145
fig 146
fig 147
BOUNCE LIGHTING
fig 148
fig 149
fig 150
STUDIO LIGHTING
fig 151
fig 152
fig 153
fig 154
PROJECTION
fig 155
Light Settings Explored also include:
Camera light settings:
- Tungsten
- Aqua
- Flash
- Shade
External light settings:
- Studio light
- Natural (day) light
- Artificial (electric) light
- Camera flash
Evaluation
What Went Well:
I have learned:
- How to create interesting effects using studio or street lights (for example using long shutter speeds, see fig 100)
- How to manipulate studio lighting, especially in the three point lighting system with key, side and back light used for Faith's shots, fig 112 to 116
Improvements
- I should have perhaps taken pictures of the studio lighting set up used for Faith's shoot, so I could demonstrate how I organised the lighting to take the best possible pictures
- I would have liked to explore Picasso's light painting technique but on a larger scale - perhaps by dancing around a street at night with a flashlight
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