Darkroom Diary - October 2, 2009

This time in the darkroom went extremely fast and smooth. I developed my film and completed 8 prints in one class (plus a couple hours in the openlab). I was kind of at a slight disadvantage because I missed two classes so I had to rush and do most of it in one day. This is really unlike me because usually I am a pretty slow worker and like to take my time to get it just right (or close to it...) so I could have used a couple extra days to do it. Oh well.

From the last project, this project, and the one due next, I can see that we will be expected to work much faster, instead of like last year, taking 3 weeks to do just 3 or 4 prints. I like this better, and take it as a "challenge" or whatever, because it will force me to be more efficient and not waste as much time.

Theory Notes: Lighting (II)

Low and Sun Light

Some low light situations would include concerts, the night sky, sunsets, or anywhere/anytime when there is not enought light. Since there is not a great enough light source, you need to increase your camera's sensitivity to light. To do this you would increase the ISO. Then, you also would need to let more light in so you would make your Shutter speed slower so more light is let in. Also, to let more light in you open your aperature.



The only light source here is the light from the sparkler. With a slow shutter speed, the image is blurred and you can see the sparkler's light trail.

To learn more about shooting in low light click here.

My Photos - Lighting

Still Life (I)

• 16 seconds
• AP 8

Test Strip

• 9 seconds
• AP 8

This photo was taken early in the morning and the sun had only been up for about an hour. The result was a soft light and the light is coming at a very flat angle.

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Still life (II)

• 37 seconds
• AP 8

Test Strip

• 22, 24, 26, 28 seconds
• AP 8
  

I used a natural light source for this photo and it was around 2 in the afternoon, so the sun is above the subject. You can tell which light the angle is coming from because of the slight shadows being cast from the edges of the bench.

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Portrait (I)
Fabrizio

• 9 seconds
• AP 8
• Filter 5

Test Strip

• 9 seconds
• AP 8
• no filter
  

This print got messed up while it was drying and i didn't have time to fix it. Though I wish I did because I really like this print because of the darkness compared to the one spot of light on his face.

This is my photo of a hard light. The light is coming directly from one angle and shadows the rest of his face. I needed a filter of 5 because it was grey and i wanted to show the white of his eyes and the light reflections.

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Portrait (II)
Josh

• 8 seconds
• AP 8
• Filter 5
  
  

Test Strip

• 14 seconds
• AP 8

This print also needed a filter of 5 because of the greyness.

This is more of a soft light because the light is more evenly spread across his face and does not cast deep shadows, however it is concentrated mostly on his face.

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Landscape (I)

• 11.5 seconds
• AP 8

Test Strip

• 15 seconds
• AP 8
  

This was tricky because of the direct sunlight coming from behind the tree. It was bleaching out the silhouetted blackness of the tree and fence. So I had to get the time right so that the the sun was bright enough and the tree was dark enough, and keep the detail of the scene.

My favorite part of this print is that you can see the sun rays coming past the fence.

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Landscape (II)

• 9 seconds
• AP 8

Test Strip

• 15 seconds
• AP 8

I think this print lots of good lighting. You can see the clear difference between the water and the algae (which is kind of disgusting). Also the sky is bright, and you can see the details of the trees.

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Contact Sheets

• 9 seconds
• AP 8

• 15 seconds
• AP 8

• 16 seconds
• AP 8

Image Bank - Lighting

Untitled
by Eric Ryan Anderson

Eric Ryan Anderson is a commercial photographer in Brooklyn, NY. He has worked published in Italian Vanity Fair, Vogue Hommes, National Geographic Traveler, and many others. Some of his big clients include Viacom, Atlantic Records, and Alternative Press. He has been shooting full-time for three years. Before pursuing photography full-time, he never actually studied photography in school, but he interned with several well-known photographers in New York.

This is a great example of hard lighting. You can see the light is coming from the left of the subject and it is casting deep shadows on the wall. I just think this is a really cool photo. I love the graffiti on the wall and then the sudden blackness and how his arm just completely contrasts the black.

Untitled
by Robert Dann

Robert is based in the UK and has been in the business of photography for 15 years and has had a really successful career. He has does advertising campaigns. He does mostly contemporary works of weddings, lifestyles, beauty and commercial photography.

I really like this photo because I love the soft lighting here. The light just spreads across his face, making his skin have a glowing appearance and just emphasizes his youth and innocence. His eyes are complimented by the lightness of the background and his skin tone, and they just stand out beautifully.

Untitled

by Clayton Bozard

Clayton is from Orangeburg, South Carolina and this is where he found his passion for photography. His photographic career began as a hobby but over time he honed his skills and has become a professional with his skills in using lighting and surroundings to create his photographs. He focuses on capturing “true emotion, personality, and intensity” in each of his subjects.

I think this is a beautiful photograph and it is aesthetically pleasing to me. I love the back light that almost silhouettes the subject and just shines out from behind her, creating a nice contrast. This, and her face being partially bleached out by the light, creates a sense of ambiguity.