This is the image that Rob, Colleen, Clint and I made for our Painting with Light assignment. We used LED lights with different colored gels and a long exposure. Jeff Parrett was kind enough to model for us.
104,625 patients have been wait-listed for organ donations as of October 29, 2009. Everyday, 17 people die while waiting for an organ donation. The four most needed organs are the kidneys, the liver, the heart, and the lungs.
Dotti Biggs (center) chats with a guest at her grandson’s wedding. Sherry Jordan, the mother of the bride, stands with them as she observes the crowd in the church foyer. Biggs said of the wedding “It was exactly what they wanted. It was beautiful.” Nicholas Reed and Jessica Jordan were married October 17, 2009.
Lighting Diagram
Single Flash
(October 18, 2009) Hudson Brewer spoons pumpkin mush into a mixing bowl as his sister Leanna looks on excitedly. After a hearty shake of spice and a squirt of Capri Sun are added to the recipe, their mother, Charlotte, says the pumpkin muffins that come from the mix “should be interesting.”
Three clear glasses represent the invisible nature of white light while the red, green, and blue whorls illustrate its primary colors. Red, green, and blue are the additive primaries- they form color by starting with an absence of light then combine together to make a composite color. The glasses also represent the size of the colored wavelengths. Red wavelengths are wide while green wavelengths are smaller and blue wavelengths are even tighter. RGB colors are used in technological devices such as computers, tv screens, and digital cameras.
Andrew Williams, a photojournalism student, stands patiently during a portrait session in Lee Hills Hall. He said, “I’m not the most expressive person. My girlfriend gets frustrated with me when she gives me a present and she can’t tell if I like it or not from the look on my face.”
This is the lighting scheme I used for the image above. I placed a softbox on a boom and hung it over Andrew's head, slightly more in front than directly overhead. Then I put a gold reflector in front of him to brighten up his eyes and add a warm tone back to his slightly washed out skin. This image was made at 1/250, f/22, ISO 100.
I never would have guessed it would be so hard to choose a select. I bounced back and forth between the select above and the multiple light image shown below. Ultimately I determined that the single light exposure more effectively portrayed Andrew’s character. His expression is honest and gentle. Although the light illuminating his face is soft and even, his dark hair is mostly in shadow and his beard provides a line of contrast between the bright skin tone and the light blue shirt that connects the shadow on his right side to the dark background on his left. Honestly, I don’t think I could pull this soft lighting off without his beard. Soft lighting generally conveys innocence and even fragility. However, with the presence of the dark hair nearly encompassing his face, the shadows present on his right side and the dark grey tone of the background to his left, there is definite a dark element present in the image. This keeps the lighting masculine. The darkness is further maintained by the fact that the light source is above and slightly in front of Andrew, so his beard receives very little light. The overall effect is that of a calm, reserved strength. Andrew is quiet, but also honest and reliable. I think that the combination of soft light and surrounding darkness communicate that sedate dignity. The thoughtful look in his eyes is paramount.
Two Light Exposure
This is the layout of the studio lights and the silver reflector I used in the image above. I used a large softbox as my key light on Andrew's left. I placed it almost perpendicular to him, but slightly forward. I then placed a silver reflector on Andrew's right to lessen the contrast's severity. Lastly, I set a light low on the ground behind Andrew and gelled it blue to illuminate the background a cool, calm color that suits Andrew's character and set him apart from the backdrop.
As far as the studio work goes, the biggest challenge I faced was getting an acceptable power ratio to my light(s) through the power pack. I tweaked every knob on the unit. For my multiple light exposures I powered my key with 600watts and left it at full power. I also powered the light that I used to illuminate the backdrop at 600watts. Both were turned down 2 stops.
