Assignment 1: Images that Illustrate lighting Characteristics

1. Attached Shadow
An Attached shadow is fixed to it's object. It allows us to see the shape and texture of objects. In this image, both the soccer ball and the boys head have attached shadows that show us the light source is coming from the top left. The roundness of the ball and head is show by the dark shadows on the bottom right of each object. The boys chin is also defined by an attached shadow. Because of the intensity of the light source (the sun?) these shadows also represent a fast falloff.



2. Cast Shadow
These boys and their skateboards are producing Cast Shadows. A cast shadow helps us locate an object within its surroundings by indicating if it is resting on a surface or floating above it. The wheels of the skateboard in the background are clearly touching the street, and we are helped to see this because the skateboard is attached to its cast shadow. The boy and skateboard in the foreground are in mid air, not touching the street, and therefore, they are disconnected from their cast shadows.




3. Falloff
The attached shadows of the awnings on these houses, as well as the attached shadows of the brick and siding, give examples of fast falloff. We are shown the angular sharp edges by the quick change from light to dark shadows. The term Falloff is used to discuss the contrast between light and shadow sides and also the rate of the change from light to shadow. Because the rate of change between the dark shadows and the bright lights are quick, this is a fast falloff instead of a slow falloff.



4. Outer Orientation a. Spatial Orientation
Outer Orientation uses lighting to tell us about the outer environment. On principal of Outer Orientation is Spatial Orientation. The key light in this photo of a bridge is above and slightly to the right of the center. This causes long cast shadows onto the water. The feet of the bridge are attached to their cast shadows helping us to see they stand in the water, while the length of the bridge is disconnected from it's cast shadow, showing us that it floats above the water. The attached shadow on the length of the bridge has a slow falloff, helping us to see how long and flat it is. We also see an example of Time Orientation in this photo. The long cast shadows of the bridge and the slow fall off from the top right to the bottom left tune us into the idea of either early morning or late day.


4. Outer Orientation b. Tactile Orientation
Tactile Orientation appeals to our touch. It helps define texture through falloff. In this picture, the keylighting is above left, creating fast falloff attached shadows in the folds of lady liberty's clothes and in her hair. The fast falloff shadows also help define the features of her face.







4. Outer Orientation c. Time Orientation
The control of lighting and shadows can help the viewer know the time of day it is. In this photo we have an example of indoor lighting for daytime. The bright lighting from this shot comes from the windows in the background. This gives us the impression that it is a bright day outside.





5. Inner Orientation a. Establishing mood and atmosphere
Inner Orientation refers to the lighting's effect on our emotions. This photo of a cave is lit from below (below-eye-level key light position) and is selective of what is lit. This is called low-key lighting due to the less overall light and few light sources. You can see that this gives us a tactile feeling on the rock due to the fast falloff of the attached shadows. The lighting of this photo establishes a "down" mood that could be ominous.






5. Inner Orientation b. Predictive Lighting
Predictive lighting clues us in on a coming event. In this photo, the the overcast large area of attached shadows lets us know we are in a slightly closed off area and about to enter an even darker attached shadow tunnel. However, at the end of the tunnel there is a fast falloff to bright light giving the impression of an open space at the other end.



5. Inner Orientation c. Dramatic Lighting
By showing the light source in the photo, we can use it as a dramatic agent and intensify the scene. In this photo, the projection screen is the main light source and gives a slow falloff attached shadow on the floor of the rooftop. There are other light sources from the city shining in the backgroud to help set the location. The cast shadows from the chairs let us know the chairs are sitting solidly on the ground.


6. Standard Lighting
This photo of a grandmother and baby is lit with standard lighting. The key light, principle lighting source, is coming from the right. A backlight is possibly used to separate them from the background and a flood light to control falloff.



7. Expanded Lighting Technique
In this image, the kid is light by a key light, but then there is a background light illuminating the background as well. This set light gives us fast falloff attached shadows in the wrinkles of the curtain which is an example of Tactile Lighting as well.










8. Chiaroscuro Lighting
Chiaroscuro lighting uses fast falloff and light/dark contrast to articulate space. It helps to clarify the volume and shape of the subjects and the space they are set in and it brings expression to the scene. In this photo of a dog taking a mid-day nap our eyes are drawn to the dog by the selective illumination of his face. The square shape of the light source, which seems to come from the upper right, gives the impression that this is sunlight coming from a window. The fast falloff of attached shadows around the dog let us know the window is the main source of light and the room is generally dark. The dog has found the one warm spot in the room to take a nap in. My dog does this often. The lighting and subject matter gives this photo a lazy feeling.



9. Flat lighting
Flat lighting is highly diffused and suggests that lighting is coming from all directions. In this photo, a window is in the background (giving us the outer orientation of time) but it doesn't seem to be the only nor brightest light source. There are no cast shadows from the objects in front of the window, only reflections on the floor. Zettl speaks of the advantages of using flat lighting to show a clean hospital, and this photo is a perfect example of that. The lack of cast shadows and the brightness of the scene sets the inner orientation of mood by making us feel calm and clean.



10. Silhouette Lighting
In silhouette lighting, the background is lit, and not the figures. In this photo, the people are darkened out completely with attached shadow, as is the ground they're walking on, but then we have a fast falloff into the background that is lit. Silhouette lighting puts an emphasis on the sharp edges of the foreground figures. We know that this is a group of people walking, some with umbrellas, and their silhouetted shape is all we need to get that information.



11. Media Enhanced/Media Generated lighting
This photo was digitally altered with a solarization effect, combining it's positive and negative image. Now we have extremely fast falloffs in the attached shadows on the girl's face. She now appears to be lit below-eye-level and it sets an inner orientation mood that's creepy or scary. This is disorienting because she is smiling and seems kind.











Finished! I kept working on this in my down time. I originally wanted to use photos regarding Brooklyn, but I couldn't find enough brooklyn pictures that worked for the assignment. I like all the pictures I chose though. Below is a picture that came up in my google image search for brooklyn that I liked a lot, but didn't want to use because I didn't want to talk about the connected cast shadow of the man's breast... or is it an attached shadow that defines that shape of his chest. Well now I've gone and talked about it.