3: Constructed Images
- Page ID
- 231792
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)While much of early photography sought to document reality, the medium, even in its technological developments, has always reflected a tension between the observed and the constructed. Photography, like other art mediums, ultimately represents the artist’s many choices. These choices are particularly evident in staged photography, where the image has been arranged or constructed. In this unit, students learn how to set up and use lighting, an important tool for staging images, to convey specific moods or support concepts in their photographs. Studio lighting exercises give students experience with setting up backdrops, lights, light stands, and gels. The assignment encourages students to think like a director with a specific intention and therefore take responsibility for every aspect of the image in service to that intention.
Image Description: A black and white photograph of an older, African American woman holding a broom and a mop in front of the American flag.
Constructed Images: Example Artists
Gregory Crewdson
Joan Fontcubera
LaToya Ruby Frasier
Laura Letinsky
Yasumasa Morimura
Vik Muniz
Cindy Sherman
Jeff Wall
Francesca Woodman
Jeong Mee Yoon
- 3.1: Introduction to Studio Lighting
- This page emphasizes the importance of light in photography, distinguishing between physical light sources and lighting quality. It covers the use of continuous and strobe lighting, the significance of ambient light, exposure settings, and light direction for achieving specific effects. Key factors like lighting quality, color temperature, and light arrangement are discussed for their influence on mood and aesthetics.
- 3.2: Learning Checkpoint
- This page provides a learning check for lighting concepts in visual production, including key terms, differentiating between natural and artificial light, and the impact of various lighting types on mood and ambiance.
- 3.3: Three-Light Setup for Portraits Exercise
- This page offers guidance for conducting a portrait session with a three-light setup, detailing the use of key, fill, and additional lights. It includes tips on lighting techniques, subject positioning, and glare management for glasses wearers, supplemented by examples to aid in understanding the setup and composition.
- 3.4: Light Modulators Exercise
- This page outlines how to create a still life inspired by László Moholy-Nagy's ideas on light modulation. It details the use of a white-painted light modulator box and encourages incorporating reflective and refractive objects, including a 3D-printed piece. The project highlights techniques in photography such as using color gels, varied compositions, and close-ups to capture the dynamics of light and color interactions.
- 3.5: Constructed for the Camera Assignment
- This page explains an assignment that emphasizes the importance of intentionality in photography, urging students to adopt a directing mindset. They must create a series of 6–8 layered digital files and inkjet prints that reflect technical skills like exposure, focus, and composition. Successful work should demonstrate a cohesive relationship between visual elements and broader themes, highlighting creativity and conceptual depth in the photography series.