No Daylight Brief: First Draft Proposal
Techniques & Processes 2A
This is essentially a problem solving exercise, to enable the photographer to work within a limited (no daylight scenario). Working in a studio environment, capturing portrait lit only by candlelight, tea lights and the use of mirrors (which will act as an additional reflective surface), will create a soft ambient ‘pool’ of light. Deliberate focus will concentrate and experiment with angles on the face of the subject which will be in close up in order to accent contours that will flatter the face. Silhouettes will also be experimented with, making investigation to how much light will become available to the photographer taking into account the limited resources.
Researching a range of potential scenarios, it will be necessary to investigate other photographers who work within a similar context, which will inform my ‘no daylight’ practice. I will additionally need to understand the technical aspects of ‘night time/no daylight’ photography, applying inverse square law to my overall composition. This may involve adapting a technique known as ‘painting the light’. Appropriate research into colour temperature, reciprocity law failure and inverse square law will need to be considered.
I will need to work either in a studio environment, shooting in RAW, and ensuring accurate exposure; preferred long or noise could ruin the shot working with an ISO of up to 1600 which will help to balance the natural and painted light. Overall, I would like my composition to have an ethereal effect. I am currently working on finding a model.
Exhibitions, fine art photography are possible target audiences, as there is an association with painting compositions (Mary Magdalene: http://www.bergerfoundation.ch/LaTour/english/terf.htm ) also due to the ethereal quality I hope to achieve, the subject matter may present with some spiritual connotations so it may be appropriate to have them in a church environment or in a portrait gallery.
Excerpt and painting provided by Paris, Musée du Louvre courtesy of the Berger Foundation entitled ”The Magdalen with the Smoking Flame”
”The contents of this picture – an intense flame, a face in profile, a skull shown frontally, two thick books, and a scourge – have been integrated into a circle or loop, a closed circuit of sorts. All of Magdalene’s thoughts are committed to this space, which emerges from the darkness thanks to the light of the flame and La Tour’s talent.
The composition clearly has been organized around the flame. Nonetheless, the doubts and hesitations that may still inhabit Magdalene can perhaps be seen in the discrete arm-leg diagonal that makes her recede. Yet, along this diagonal, the arm leads her thoughts without detour from one head to another. The detour is delineated by the other arm, and it is the play of these two lines of development, as in that of the two hands with respect to the two heads, that we realize the prodigious technique at La Tour’s command for staging such delicate themes.
Magdalene has given up luxury, vanity, seduction. There remain a modest oil lamp, a scourge to reiterate the sufferings of Christ, the Holy Books … and the skull which is turned in our direction, as if to question us.”
Examples of ”No Daylight” Photography Work: