Images with depth

The instructions for this work were to produce three images that each represent a particular atmosphere considering lines of perspective, foreground and background detail, lighting, colour and texture, and depth of field. 

And these are the things that I achieved:

Dynamic/exciting/adventurous

This first still represents a silouette which is in all probability the simplest exercise that we can make with colour. That is to say, a black figure in the foreground and a very bright background. Furthermore, in this example, as the contrast creates depth, we can feel a sense of risk given that the closer object seems to be flying over the top of the building - that we can see at the back thanks to the depth of field mentioned. What is more, the slight diagonal of it contributes a little bit to have an impression of movement. But it must be admitted that you have to be very generous to concede that. 

Oppressive/dull/stifling

In this case I went for getting a still of the utilities room, as it is a very much obvious space that can be identified as dull and oppressive. I put a light in the middle of the room to produce depth and, in addition to this, I included the door slighlty alit to make contrast ought to the difference in texture - the wood against the space full of stuff. There are other things to sum to the deepness such as the lines of perspective - althoug they were not totally captured - and the hoover's tube. 

Complicated/confusing/uncomfortable

One of the things that I read when I was preparing to construct my images was that hard lights on the face os subjects can shadow considerably things that offer value information about how they feel. At the same time, not softening these shadows has got a significant consequece: contrast creation. I thought about this when I had to get a still that makes us uncomfortable and confusing. The result was the folowing one. A woman's face, half lit, half shadowed, looking down in the foreground. How is really she? It's difficult to say because we can't take too much information away from her appearance. Apart from this effect, I put two more lights in the background to have depth of gield. The problem was that I wanted to have to different atmospheres. One wamer ar the back. And another one colder just in front. Lights were set to produce that and to reinforce the confusion that the face produces. Sadly, it didn't go in that way and the lightgin was the same in all the areas alit. 

On reflection

Looking back over the things that I've done, I think that the best way of creating depth may be by placing sources of light in strategic positions. However, it's true that I haven't hardly tried out things like lines of perspective or placing large objects close up and small ones far away. Nonetheless, I had great satisfaction in seeing that many of my experiments paid off. And not only this, I'am able to analyse now how lights work in films and documentaries.