This document summarizes E.E. Faraday's viewpoint that lighting in theatrical performances should enhance the play and audience experience without drawing attention to itself. It discusses how this view is still debated today. While some lighting designers aim to immerse audiences subtly, others use bolder techniques. Advances in technology have expanded options, but purists argue these should not override dramatic purpose. The role of lighting also varies across genres and formats like television. Overall, Faraday's core idea that lighting should serve the performance rather than distract from it remains influential, though its application continues to be discussed.
Close up & macro photography - 2011 ukMarjoWright
The document discusses equipment options for close-up and macro photography. It defines close-up and macro photography, noting that macro refers to reproduction ratios of 1:1 or higher (life-size). It examines the use of compact cameras, bridge cameras, and DSLR cameras for close-up photography, noting advantages and disadvantages of each. Compact cameras are portable but have limited optical zooms and controls, while DSLRs have more flexibility but at increased size and cost. Bridge cameras fall in between with some flexibility from their long fixed lenses.
Maria de los Ángeles Toledo Diaz Rubín CV 2015angeles toledo
María de los Ángeles Toledo es una ejecutiva senior mexicana con amplia experiencia en asesoría de franquicias y empresas. Actualmente es directora general de Gallastegui Armella Franquicias, donde ha asesorado a más de 100 empresas. También es cofundadora del grupo Jander, especializado en asesoría a emprendimientos. Toledo tiene formación en gestión empresarial y resolución de conflictos.
This document outlines a strategic marketing campaign created by Team Level Up for EpicEd, a gaming summer camp. It includes a situation analysis of EpicEd, research on tweens and gaming, and a creative brief, tactics, and strategy to increase awareness of EpicEd's brand and camps. The goal is to target parents of middle school students ages 11-14 and highlight the social and educational benefits the camps provide to attract more enrollment.
Este documento describe los principios de la didáctica crítica, incluyendo la construcción colectiva del conocimiento, la relación de reflexión entre maestros y alumnos, y el diseño de situaciones de aprendizaje. La didáctica crítica promueve que los estudiantes aprendan de manera individual y colectiva a través de la problematización y verificación crítica de conocimientos.
MisMatched Maids is a retail platform dedicated to reselling bridesmaid dresses to help cut costs for bridesmaids. It allows users to buy and sell pre-owned dresses. The site includes a bridal stylist for dress recommendations and coordinating bridesmaid looks. It also has sharing features for wedding tips and local recommendations to encourage community and reduce the environmental impact of wedding dress consumption.
Close up & macro photography - 2011 ukMarjoWright
The document discusses equipment options for close-up and macro photography. It defines close-up and macro photography, noting that macro refers to reproduction ratios of 1:1 or higher (life-size). It examines the use of compact cameras, bridge cameras, and DSLR cameras for close-up photography, noting advantages and disadvantages of each. Compact cameras are portable but have limited optical zooms and controls, while DSLRs have more flexibility but at increased size and cost. Bridge cameras fall in between with some flexibility from their long fixed lenses.
Maria de los Ángeles Toledo Diaz Rubín CV 2015angeles toledo
María de los Ángeles Toledo es una ejecutiva senior mexicana con amplia experiencia en asesoría de franquicias y empresas. Actualmente es directora general de Gallastegui Armella Franquicias, donde ha asesorado a más de 100 empresas. También es cofundadora del grupo Jander, especializado en asesoría a emprendimientos. Toledo tiene formación en gestión empresarial y resolución de conflictos.
This document outlines a strategic marketing campaign created by Team Level Up for EpicEd, a gaming summer camp. It includes a situation analysis of EpicEd, research on tweens and gaming, and a creative brief, tactics, and strategy to increase awareness of EpicEd's brand and camps. The goal is to target parents of middle school students ages 11-14 and highlight the social and educational benefits the camps provide to attract more enrollment.
Este documento describe los principios de la didáctica crítica, incluyendo la construcción colectiva del conocimiento, la relación de reflexión entre maestros y alumnos, y el diseño de situaciones de aprendizaje. La didáctica crítica promueve que los estudiantes aprendan de manera individual y colectiva a través de la problematización y verificación crítica de conocimientos.
MisMatched Maids is a retail platform dedicated to reselling bridesmaid dresses to help cut costs for bridesmaids. It allows users to buy and sell pre-owned dresses. The site includes a bridal stylist for dress recommendations and coordinating bridesmaid looks. It also has sharing features for wedding tips and local recommendations to encourage community and reduce the environmental impact of wedding dress consumption.
Design Fiction: A short slideshow on design, science, fact and fictionJulian Bleecker
http://cli.gs/DesignFictionEssay
An exploration of the entanglements amongst science fiction and science fact, in order to show how they are not distinct, but infinitely knotted together. Why do this? In order to wonder — what are effective ways of designing the future?
Design fiction is making things that tell stories. It's like science-fiction in that the stories bring into focus certain matters-of-concern, such as how life is lived, questioning how technology is used and its implications, its ability to speculate about the course of events; all of the unique abilities of science fiction to incite imagination-filling conversations about possible habitable, life-affirming future worlds.
A larger discussion of this slidshow overview is available here: http://cli.gs/DesignFictionEssay
This document provides an introduction to stage lighting design. It discusses the evolution of stage lighting from early Greek theaters using natural light to modern developments using various artificial light sources. It describes the role of the lighting designer and their objectives in creating visibility, naturalism, composition, and mood through manipulating the qualities of light including intensity, form, color, direction and movement. The document also covers topics such as the physical and psychological properties of light, and defines key lighting terms including intensity, illumination, and brightness.
Artists and designers indulge in lighting research as a creative expression, finding new ways to inspire emotional and sensory responses. The document profiles several lighting installations, products, and designers. A vast array of interactive, dazzling, and meditative light art provides insight into contemporary lighting design and the potential of new technologies to stimulate the body and spirit. Artists explore light's ability to distract and transport viewers into new realms of imagination.
The article discusses how technological and social changes are driving the need for innovative, user-centered lighting design and solutions. It highlights key findings from two new Zumtobel studies on how lighting impacts customer experiences in retail spaces and employee well-being and preferences in offices. The studies found that individual, adaptive lighting solutions will be needed to meet different user needs. Zumtobel is developing new products like the SEQUENCE luminaire and LITECOM lighting control system to provide better, more effective lighting based on an interdisciplinary, user-focused design approach.
MW2010: Matthias Krauss and Manfred Bogen, Conveying Culture Heritage and Leg...museums and the web
A presentation from Museums and the Web 2010.
Conveyance of cultural heritage and legacy should start as soon as possible in schools. In order to make teenaged students interested in this topic, innovative ways have to be found to arouse attention, interest and motivation. We have developed an Augmented-Reality-based teaching platform (ARTP) that we successfully used for educational purposes in European schools. Our solution not only is useful in schools, but can also be installed for museums visitors too to allow innovative and interactive access to museum collectibles.
We describe two possible strategies to bring AR into museums. The bottom-up approach is to bring the immersive potential of existing proven and robust technologies already in museums up to a reality augmentation level. The second approach takes the opposite direction: improving the robustness of fully featured AR technology currently existing in research labs up to a level of maturity that allows everyday use in museums. We illustrate both strategies by respective projects that we conducted.
Session: Actionable Research [research]
see: http://www.archimuse.com/mw2010/abstracts/prg_335002242.html
2016 IESSA passion for light - how it affects my (and your) worldRetief Coetzer
This is the first Paper I have ever presented. I was fortunate enough to have my Paper accepted as one of the presentations at the 12th annual IESSA AGM. It's rough... but it's a start!
2016 IESSA - Passion for light - how it affects my (and your) worldRetief Coetzer
This document discusses how passion drives progress and innovation. It uses the evolution of the lighter as an example, from the initial invention of the "tinderbox" by Johann Dobereiner due to his passion for science, to numerous improvements over the decades. The author also discusses how their own passion for lighting design has improved their work over three years, from basic designs to more detailed renderings and analysis. They argue that passion is needed for any field to continue advancing and producing high quality work that benefits others.
This document discusses a proposed installation that would use an accelerometer to capture a participant's movements and use that data to control lights reflected in a dish of water suspended above a light source. The participant's movements would drive a vibration motor attached to the dish, controlling the light experience. A webcam could film the dish's reflections for projection effects. The installation aims to further explore phenomenological and ontological philosophy through immersion and embodiment, informing a critical text. Compared to a previous exhibition, there should be a vastly improved user experience through this interactive design.
This document provides a list and visual documentation of David Goldenberg's artworks from 1989-2011. It includes installations, posters, drawings, and collaborations that explore participatory practices and examine issues of globalization, colonization, and how to develop new spaces for art outside the traditional system. The works used a variety of mediums like cling film, video, performances, texts, and structures to spark discussion and imagine alternatives.
This document is a project report submitted by Eric Ballestero for the Graduate Diploma in Acoustics and Noise Control at the Institute of Acoustics. The report investigates reverberation time as a characterizing criterion for architectural spaces like halls. It aims to show how reverberation time is influenced by factors like room volume and absorption. Measurements were taken in three different halls - a theatre, concert hall, and lecture hall. The results are analyzed and rooms are modeled in software to simulate improvements to reverberation times. The report examines how reverberation time relates to other acoustic criteria and guidelines for optimal reverberation times in different types of spaces.
This document summarizes a physics project investigating whether LEDs can operate in reverse to detect light. The student tested various colored LEDs and a photodiode using a monochromator to separate light wavelengths. The LEDs generally showed a peak absorption wavelength 30nm shorter than their emission peak, agreeing with predictions. However, not all LEDs responded as expected. While LEDs were worse than the photodiode at detecting white light, they could potentially be used as spectrally sensitive light detectors in applications. Further work could examine efficiency over time to develop an LED-based light detector.
Jan Versweyveld
La traviata Giuseppe Verdi Willy Decker Hans Toelstede
Orfeo ed Euridice Christoph Willibald Gluck Pierre Audi Jean Kalman
L’incoronazione di Poppea Claudio Monteverdi Pierre Audi Jean Kalman
La Cenerentola Gioacchino Rossini Guy Joosten Davy Cunningham
La damnation de Faust Hector Berlioz Pierre Audi Jean Kalman
The Rake’s Progress Igor Strawinsky Pierre Audi Jean Kalman
The Turn of the Screw Benjamin Britten Pierre
In this Assignment I discuss about Optical fiber, Evolution of optical fiber: from the beginning to present and beyond, Types of optical fibers used in commercial applications, Losses in optical fiber link, Submarine cable system worldwide, SONET, Fiber optic network backbone in Bangladesh, Applications of optical fiber in 4G technologies and beyond
This document compares LED, incandescent, and fluorescent light sources. Incandescent lights are inefficient as only 10-15% of energy is emitted as visible light with the rest lost as heat. Fluorescent lights use a mercury vapor process where UV light excites a phosphor coating to emit visible light, achieving higher efficiency than incandescents. LEDs operate using semiconductor p-n junctions and can achieve even higher efficiencies than fluorescent lights. The document discusses compound semiconductors used in LEDs and fabrication methods like MOCVD and nanowires to further improve LED performance.
The document describes the Cash Machine installation project at the New Children's Museum in San Diego. It summarizes the key components of the interactive fundraising installation, including the pneumatics using tubing and a cyclone, bill detection using infrared sensors, and incorporating noise, light, and movement using bells, servos, and styrofoam sculptures. The project aimed to create a whimsical experience that detects money and triggers sounds and motions.
1) The document discusses an experiment conducted at the University of Arizona Museum of Art to determine the optimal lighting conditions for displaying Mark Rothko's painting "Green on Blue".
2) Museum staff partnered with students from the College of Optical Sciences to survey visitors' preferences for the color temperature of lights shining on the painting, with responses ranging from 2750K to 4500K.
3) The experiment revealed that visitors' preferences varied depending on how the lighting options were presented, and that no single temperature was a clear majority favorite. It also made the museum staff realize lighting can fundamentally change the viewing experience of a painting.
This is the main bulk of my EPQ which gained an A grade at A Level. There are other bits, such as a log, reflection and several appendices, but this is the main bulk of it
Stage lighting involves lighting techniques used in theater, dance, opera, and other live performances. Various lighting instruments are used to provide basic lighting as well as special effects. The equipment and personnel involved in stage lighting are also used for other live events like concerts and corporate events. The earliest known form of stage lighting was in ancient Greek and Roman theaters, which utilized natural sunlight. As theaters moved indoors, artificial lighting became necessary and techniques advanced over time, such as the introduction of candlelight in English theaters during the Restoration period. Modern stage lighting involves a lighting designer who creates a light plot and schedules cues to achieve various lighting qualities like intensity, direction, focus, and movement to set mood, reveal forms, and direct audience
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http://cli.gs/DesignFictionEssay
An exploration of the entanglements amongst science fiction and science fact, in order to show how they are not distinct, but infinitely knotted together. Why do this? In order to wonder — what are effective ways of designing the future?
Design fiction is making things that tell stories. It's like science-fiction in that the stories bring into focus certain matters-of-concern, such as how life is lived, questioning how technology is used and its implications, its ability to speculate about the course of events; all of the unique abilities of science fiction to incite imagination-filling conversations about possible habitable, life-affirming future worlds.
A larger discussion of this slidshow overview is available here: http://cli.gs/DesignFictionEssay
This document provides an introduction to stage lighting design. It discusses the evolution of stage lighting from early Greek theaters using natural light to modern developments using various artificial light sources. It describes the role of the lighting designer and their objectives in creating visibility, naturalism, composition, and mood through manipulating the qualities of light including intensity, form, color, direction and movement. The document also covers topics such as the physical and psychological properties of light, and defines key lighting terms including intensity, illumination, and brightness.
Artists and designers indulge in lighting research as a creative expression, finding new ways to inspire emotional and sensory responses. The document profiles several lighting installations, products, and designers. A vast array of interactive, dazzling, and meditative light art provides insight into contemporary lighting design and the potential of new technologies to stimulate the body and spirit. Artists explore light's ability to distract and transport viewers into new realms of imagination.
The article discusses how technological and social changes are driving the need for innovative, user-centered lighting design and solutions. It highlights key findings from two new Zumtobel studies on how lighting impacts customer experiences in retail spaces and employee well-being and preferences in offices. The studies found that individual, adaptive lighting solutions will be needed to meet different user needs. Zumtobel is developing new products like the SEQUENCE luminaire and LITECOM lighting control system to provide better, more effective lighting based on an interdisciplinary, user-focused design approach.
MW2010: Matthias Krauss and Manfred Bogen, Conveying Culture Heritage and Leg...museums and the web
A presentation from Museums and the Web 2010.
Conveyance of cultural heritage and legacy should start as soon as possible in schools. In order to make teenaged students interested in this topic, innovative ways have to be found to arouse attention, interest and motivation. We have developed an Augmented-Reality-based teaching platform (ARTP) that we successfully used for educational purposes in European schools. Our solution not only is useful in schools, but can also be installed for museums visitors too to allow innovative and interactive access to museum collectibles.
We describe two possible strategies to bring AR into museums. The bottom-up approach is to bring the immersive potential of existing proven and robust technologies already in museums up to a reality augmentation level. The second approach takes the opposite direction: improving the robustness of fully featured AR technology currently existing in research labs up to a level of maturity that allows everyday use in museums. We illustrate both strategies by respective projects that we conducted.
Session: Actionable Research [research]
see: http://www.archimuse.com/mw2010/abstracts/prg_335002242.html
2016 IESSA passion for light - how it affects my (and your) worldRetief Coetzer
This is the first Paper I have ever presented. I was fortunate enough to have my Paper accepted as one of the presentations at the 12th annual IESSA AGM. It's rough... but it's a start!
2016 IESSA - Passion for light - how it affects my (and your) worldRetief Coetzer
This document discusses how passion drives progress and innovation. It uses the evolution of the lighter as an example, from the initial invention of the "tinderbox" by Johann Dobereiner due to his passion for science, to numerous improvements over the decades. The author also discusses how their own passion for lighting design has improved their work over three years, from basic designs to more detailed renderings and analysis. They argue that passion is needed for any field to continue advancing and producing high quality work that benefits others.
This document discusses a proposed installation that would use an accelerometer to capture a participant's movements and use that data to control lights reflected in a dish of water suspended above a light source. The participant's movements would drive a vibration motor attached to the dish, controlling the light experience. A webcam could film the dish's reflections for projection effects. The installation aims to further explore phenomenological and ontological philosophy through immersion and embodiment, informing a critical text. Compared to a previous exhibition, there should be a vastly improved user experience through this interactive design.
This document provides a list and visual documentation of David Goldenberg's artworks from 1989-2011. It includes installations, posters, drawings, and collaborations that explore participatory practices and examine issues of globalization, colonization, and how to develop new spaces for art outside the traditional system. The works used a variety of mediums like cling film, video, performances, texts, and structures to spark discussion and imagine alternatives.
This document is a project report submitted by Eric Ballestero for the Graduate Diploma in Acoustics and Noise Control at the Institute of Acoustics. The report investigates reverberation time as a characterizing criterion for architectural spaces like halls. It aims to show how reverberation time is influenced by factors like room volume and absorption. Measurements were taken in three different halls - a theatre, concert hall, and lecture hall. The results are analyzed and rooms are modeled in software to simulate improvements to reverberation times. The report examines how reverberation time relates to other acoustic criteria and guidelines for optimal reverberation times in different types of spaces.
This document summarizes a physics project investigating whether LEDs can operate in reverse to detect light. The student tested various colored LEDs and a photodiode using a monochromator to separate light wavelengths. The LEDs generally showed a peak absorption wavelength 30nm shorter than their emission peak, agreeing with predictions. However, not all LEDs responded as expected. While LEDs were worse than the photodiode at detecting white light, they could potentially be used as spectrally sensitive light detectors in applications. Further work could examine efficiency over time to develop an LED-based light detector.
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In this Assignment I discuss about Optical fiber, Evolution of optical fiber: from the beginning to present and beyond, Types of optical fibers used in commercial applications, Losses in optical fiber link, Submarine cable system worldwide, SONET, Fiber optic network backbone in Bangladesh, Applications of optical fiber in 4G technologies and beyond
This document compares LED, incandescent, and fluorescent light sources. Incandescent lights are inefficient as only 10-15% of energy is emitted as visible light with the rest lost as heat. Fluorescent lights use a mercury vapor process where UV light excites a phosphor coating to emit visible light, achieving higher efficiency than incandescents. LEDs operate using semiconductor p-n junctions and can achieve even higher efficiencies than fluorescent lights. The document discusses compound semiconductors used in LEDs and fabrication methods like MOCVD and nanowires to further improve LED performance.
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1) The document discusses an experiment conducted at the University of Arizona Museum of Art to determine the optimal lighting conditions for displaying Mark Rothko's painting "Green on Blue".
2) Museum staff partnered with students from the College of Optical Sciences to survey visitors' preferences for the color temperature of lights shining on the painting, with responses ranging from 2750K to 4500K.
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This is the main bulk of my EPQ which gained an A grade at A Level. There are other bits, such as a log, reflection and several appendices, but this is the main bulk of it
Stage lighting involves lighting techniques used in theater, dance, opera, and other live performances. Various lighting instruments are used to provide basic lighting as well as special effects. The equipment and personnel involved in stage lighting are also used for other live events like concerts and corporate events. The earliest known form of stage lighting was in ancient Greek and Roman theaters, which utilized natural sunlight. As theaters moved indoors, artificial lighting became necessary and techniques advanced over time, such as the introduction of candlelight in English theaters during the Restoration period. Modern stage lighting involves a lighting designer who creates a light plot and schedules cues to achieve various lighting qualities like intensity, direction, focus, and movement to set mood, reveal forms, and direct audience
Similar to James Walton - Lighting Design Research MH2S04 (20)
3. MH2S07 – Lighting Design Research –
P-2
Assessment Task
According to E. E. Faraday
‘It is true to say [that this] heightening of effect should not be seen but should
rather be felt by the audience as a satisfying experience, for if the lighting is
used for lighting’s sake, the audience will become conscious of the artifice and
will probably cease to concentrate on the play. As is well known “the play is
the thing”, so stage lighting must above all be subservient to the play as a
whole; an accessory only and not a means to an end in itself’
Faraday, W. J. Furse & Co Ltd (1953)
To what extent does Faraday’s analysis still hold true in today’s lighting
industry?
4. MH2S07 – Lighting Design Research –
P-3
Introduction
Since the electrification of the Savoy by Sir Joseph Swan in 1881 debate has been
rife between designers, directors and practitioners alike concerning the usage of
lighting for pragmatic and creative means during performance.
E.E Faraday raises an intriguing point which to this day has sparked debate across all
sectors of the performance and live event industry. Whilst showing no sign of losing
momentum given the amalgamation of video technologies, conception of control
protocols and invention of technologies to the sector of which Faraday would not have
been able to predict such as R. J. Keyes and T. M. Quist’s semiconductor DPSS laser
diodes and the introduction of the USITT DMX512 Protocol.
In turn each of these technologies have contributed to vastly expanding the industry
and more importantly, the assets available today in the modern theatrical lighting
designer’s toolbox. The consensus of the research gathered, although in some cases
severely contested, it has been noted a line of what is and what is not acceptable for
theatrical and dramatic lighting design seems to be emerging based on Faraday’s
comments that holds true to this day.
5. MH2S07 – Lighting Design Research –
P-4
Body
The heightening of effect should not be seen but should rather be felt by the audience
as a satisfying experience
Faraday states how effective theatrical lighting should be crafted to immerse the audience in an
emotionally stimulating environment in order to provoke an immersive experience. This viewpoint is
shared by television LD B.Bailes, who’s latest installation for ‘GingerLime’ embodies the concept of
subservient lighting, allowing interesting spaces to be shown in their best light, with the objective of
sculpting a ‘satisfying emotional reaction within the person experiencing it’. Bailes makes sure to
indicate a ‘fine line’ between right and wrong when implementing designs fabricated to subliminally
evoke human emotion. Equally ‘when done badly it's just a bunch of technology in a confusing space’.
In conversation with C.Davies a contrasting stance was shown indicating how ‘there should be no
template to light a show’. This was formed when he ‘was the LD for [Black] Sabbath in the 1970s, - the
band would play arenas of 20,000.’ That required visual lighting that ‘looked great from the back.’ By
utilising the rig in an unconventional way compared to other lighting designers, Davies used a host of
‘follow spots to light the band’ and ‘multiple par-cans within the rig to create excitement’. This
unconventional fixture usage has increased in popularity in the present day, examples include
K.Adams ‘Next to Normal’ utilising hard edged backlight to stimulate the audiences interest. Although
it’s worth noting this should be used in moderation as ‘if over-used can prove to be a distraction’.
Whitelight’s Brian Raven supports Fardays standpoint and adds ‘If you come out of a play and your
main memory is the lighting then as a piece of drama it has failed.’ This is highlighted by M.Susan’s
comment, ‘no two events in this industry are the same’, with each performance presenting its own
unique quandaries. It’s indicated this has remained true from Faradays time, where he states in 'Basic
Stage Lighting and Equipment' that each show ‘contains almost limitless variables’.
Figure 1.0 Bailes ‘GingerLime’
6. MH2S07 – Lighting Design Research –
P-5
Raven adds how in modern day performance ‘a well-lit play can improve the story and add a lot to it.’
Equally when lighting a band, ‘sometimes the audience has come to see and hear the group and not
be distracted by multiple flashing lights’ alternatively ‘other acts need the drama of an exciting light
show.’
If lighting is used for lighting’s sake, the audience will probably cease to concentrate
on the play.
Faraday makes his standpoint clear, alongside the majority of theatrical and television designers, who
oftentimes employed the ‘McCandless technique’ as detailed in ‘A Method of Lighting the Stage’
(published 1932) as the accepted procedure to light a space. This was due to the ‘sympathetic’, ‘realist’
appearance it provided with an intention of ‘complimenting’ opposed to overpowering the subject,
this notion can be perceived within current day designs such as Shakespeare’s ‘Othello’ lit by C.Bagnall.
Despite this, current technical author F.Reid argues the pragmatics of the method, ‘if light is sufficient
for the front row, it will not be from the back’.
In addition, certain designers, experimental theatrical practitioners and directors from Faradays era
were opposed to the idea. Artaud’s Theatre of Cruelty was the physical embodiment of surrealism and
‘bombarded the audience with light’ holding an intent of taking them on a visual journey. Similarly
Brecht’s ‘Mother Courage’ and JaquesLecoq’s ‘The moving Body’ require stark lighting with
unconventional ‘top-lighting’ combined with a ‘smattering of shadow’ emphasizing expression and
grotesque nature of performance to shock and alienate the audience.
Figure 2.0 ‘McCandless Technique’ ‘Jewell technique’
7. MH2S07 – Lighting Design Research –
P-6
Modern techniques such as H.Bay’s "jewel" lighting combat this, employing multiple angles, (a
reference to how jewellery is lit in a display case). Equally LD Michael Broderick’s ‘One Man One Light’,
a duet between a single automated fixture and actor in a new interactive theatrical form. Although
the standard of programing practice is high, it’s snubbed by theatrical purists as a ‘marketing gimmick’
and ‘fad’ regardless of audience response.
Although each of the aforementioned practitioners had sizable following none of their works broke
into mainstream television as they were regarded, ‘unsavoury’ and ‘unfit for the wider British
audience’. It is suggested Faraday is writing with theatrical and television elites in mind.
Scientific breakthroughs lead to conformation of theories and in depth understanding. This allowed
lighting designers of the late 20th
century sculpt designs based on the human response and strive for
maximum audience emersion. Journals such as NPL’s ‘Principles of Photometry’ allow modern
designers to inform their designs regarding ‘The Human Photometric Response’ further recognising
the needs of the audience. These revelations included perceivable lux levels and human 555nm peak
response. Despite this many support LD J.Farncombe’s traditionalist viewpoint conveyed through ‘The
Stage’ magazine 2010 arguing how ‘theatre is an escape from reality and should not be informed by
science’, echoed by F.Reid in the Stage lighting handbook stating how ‘stage lighting is not an exact
science’ consequently opinion is still divided.
Since Faradays time there has been a significant shift and exponential increase in demand for aesthetic
lighting within the television sector. Triggered by the introduction of Marconi’s ‘revolutionary range
of cameras’, integrating dichroic prisms (more recently Bayer filters) and prompting the BBC to roll
out BBC 2’s five month integration from July 1967.
Figure 2.1 ‘Theatre of Cruelty’ Figure 2.2 ‘Commedia Dell’Arté - The Buffoon’
8. MH2S07 – Lighting Design Research –
P-7
In comparison to the monochromatic 4:3 cameras used in 1953, technological advancement has led
to 1080i 16:9 colour becoming the new UK standard. S.Bailey describes how ‘higher image quality and
[an] increase of viewers has resulted in directors demanding more from lighting and video
technologies’. Previous camera technologies required high levels of light with uniform constant CRI
(such as that supplied from the PATTERN 237 wash) due to low optic sensitivity. This is now not the
case and has opened the floodgates for creative design. In comparison to standardised ‘Prime-Time’
television such as the ‘Good old days’ (1953) the entire sector has undertaken an overhaul.
ITV’s [formerly Granada’s] latest publicly released figures indicate a much higher budget available than
previous years which is especially notable across ‘Prime-Time’ television. This has led to large
investment in performance technology which has caused uproar between theatrical purists presenting
the view that certain shows are becoming ‘broadcasted tradeshows’ with a dramatic increase of
‘Eyecandy-fixtures’. This feeling is shared by B Bales who postulates how over the past decade ‘it’s
possible that the TV world has started to ignore the rules, glossy shows such as X-factor go through
phases of going overboard with technology that [he] personally finds distracting.’ In response, SycoTV
dismisses these claims, marketing the show as ‘incomparable in its success versus rival talent shows’.
Figure 2.3 ‘Dichroic Prism’ Figure 2.4 ‘Bayer Filter’
Figure 2.5 ‘Good Old Days’ Figure 2.6 ‘The X Factor’
9. MH2S07 – Lighting Design Research –
P-8
In contrast to Faraday’s time the use of social media and marketing techniques currently employed by
manufacturers has dramatically increased, subjecting specifiers and designers to the latest ‘must have
products’ in both a direct and subliminal way.
In addition, technical advancements in environmental science have been made since the ‘Great smog’
of 1952. Consequently lighting designers have been heavily exposed to opinion and external pressures
to conform to acceptable ecological standards. This feeling is equally conveyed by J.Valchar who when
questioned over influence placed on the industry mentions how ‘It is worth noting that when LED
[fixtures] initially flooded the market and became 'the thing to have, LDs went overboard.’
During Faradays time genres such as farce, romance and entertainment were prominent within most
mainstream theatres. These performances required naturalistic lighting states achieved through a
uniform wash and protagonists highlighted with ‘limelight’, follow-spots often fitted with frost to
soften the beam.
To this day the concept of ambient frontlight and follow-spot usage remain as a staple of televised
variety shows and musicals, although further more refined with the introduction of HMI and Xenon
lamps. It is incredibly apparent when reading catalogues of Faradays time fixtures were produced with
Figure 2.9 ‘Twitter’Figure 2.7 ‘Artyon’ Figure 2.8 ‘Instagram’ Figure 2.10 ‘Facebook’
Figure 2.11 ‘Refurbished Follow Spot’ Figure 2.12 ‘Thoroughly Modern Millie’
10. MH2S07 – Lighting Design Research –
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a ‘war-mentality’, striving to be ‘functional’, ‘reliable’ and ‘robust’. Providing functional roles with no
thought of aesthetics, highlighting Faradays ‘the play is the thing’ mentality.
An accessory only and not a means to an end in itself
As faraday states, theatrical ‘lighting is not a means to an end’. An opinion shared by B.Raven who is
a strong believer ‘light should also be integral to the piece’. The concept that ‘lighting has to help tell
the story’, ‘explain the time of day’, ‘add realism to the setting and reflect changes in mood & tone’.
This is embodied almost every modern traditional performance. This standpoint that light must have
a reason is embodied through the work of R.Fisher on ‘An Inspector Calls’. To add a further dimension
to the play and manipulate the audience.
‘Paule Constable who spends a huge amount of time in the rehearsal room is an integral part of the
creative team (her work on shows like War Horse and Curious Incident are perfect examples of this).’
Figure 4.0 Fisher’s ‘An Inspector Calls’
11. MH2S07 – Lighting Design Research –
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Contextually Faraday wrote the 'Basic Stage Lighting and Equipment' for both a student and amateur
demographic. Additionally his subjective literary style and use of vocabulary such as ‘probably’ is
vastly different in comparison to formal published guides and journals of the era which were further
direct. This hints at a slight sense of insecurity in what he was saying, suggesting he was aware of
opposing viewpoints, but accepted potential to be proven wrong.
Britain during the 1950's was in many ways different from today. The most obvious of which was the
physical fabric of the country. In 1950 the Second World War’s legacy was everywhere to be seen,
especially London. Most grandfathers had served in WW1, most fathers in the second and most men
called for National Service surrounding the threat of cold war. The prospect of a job external to this
was incredibly enticing. In regards to theatre lighting of the era, being 'contemporary, revolutionary
or going against the grain of the established lighting style’ often lead to unemployment from ‘money
conscientious production teams’, 'beaten into submission' of normality through fears of losing
audience.
Faraday, similar to many others at the time entered theatre, working his way up alongside designers
from a young age. As expected he was introduced to the idea of ‘subservient’ and ‘sympathetic’
lighting whilst impressionable which grew with his style. Through literature Faraday explains how to
achieve useful effects enabling students and amateur lighting technicians accrue a certain level of
knowledge which would make them appealing to potential employers, who simply ‘required stages to
be lit’. This emphasizes how aware Faraday was of his audience, accepting revolutionaries of the time
with the intention of creating ‘new and experimental visuals’ would not have purchased the book in
the first place.
Despite the strict era of which ‘Basic Stage Lighting and Equipment’ was published, it is considered the
concepts Faraday outlined ring true to this day with unanimous agreement from designers, product
manufacturers and audiences alike, despite introduction of new technologies, techniques and
discovery across the past 62 years.
Figure 4.1 [Constables ‘Curious incident Figure 4.2 [Constables ‘Warhorse’]
. of the Dog in the Night-time’]
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Appendix
Bailes, B. (2015) Faraday and Modern Performance. 10 October 2015, 14:10. ITV Studios
London
‘Faraday wrote presumably about theatre, where I believe it absolutely applies. Take modern
productions such as The Curious Incident [of the Dog in the Night Time]. It's the best use of
theatre technology I've ever seen and uses a combination of LED screens, projection and
lighting to effectively re-create the story and captivate the audience.’
‘I was aware of the technology, but didn't really consider what was being used until after the
show. If you look at immersive installations, when done right the lighting (and sound etc)
creates a stimulating environment and an emotional reaction within the person experiencing
it. When done badly it's just a bunch of technology in a confusing space.’
It's possible that the TV world has started to ignore the rules, glossy shows such as X-factor go
through phases of going overboard with technology that I personally find distracting. I don't
see it very often, and presume it's less of a problem today.
In my opinion to the detrimentof the performance. Indeed,Faraday's words are still as relevant
to this day as they were in 1953. Ignore them at your peril!
Davies, C. (2015) Legacy Lighting Design for Live Events. 13 October 2015, 14:10. –
Skype.
‘Our rigs increased in size predominantly for large audiences to be visually excited, yet not
detract from the performance. The issue we faced was that the band could be clearly heard but
looked like ants to people at the back. By using multiple ParCan rigs we could create all sorts
of interesting patterns to get them visually stimulated if they didn’t have a good view of the
band. That most definitely applied to ‘[Black] Sabbath’ in the arena tours anyway.
Of course we didn’t have moving lights then, but we never wanted to detract from the artists.
The music lead the lights to make the experience better for the audience, not the other way
round. Personally these days I think some companies take the lighting too far, which almost
becomes annoying.’
Davies, C. (2015) The Development of Performance Lighting. 18 October 2015, 10:25.
University of South Wales – Trefforest Campus.
‘It was a strange world back then. No social media. We stayed in our own little world. If you
got a gig with a band you tried to do the best with what the budget would pay for. And we
only had Pars to create something different. As for the 50's there were no lighting, just what
was in the theatre. When you come to my lecture next year all is explained. All the best Clive.’
‘Every show is different. Lights are always there to add to the show or play not to distract. A
well-lit play can really improve the story and add a lot to it. When lighting a band, sometimes
the audience has come to see and hear the group and not be distracted by lots of flashing
lights, while other acts need the action and drama of an exciting light show. For example when
I was the LD for Black Sabbath in the 1970s we had no video screens and the band would tour
16. MH2S07 – Lighting Design Research –
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the US playing arenas of around 20,000. So I had to create a very visual lighting show that
looked great from the back. So I would use follow spots to light the band and the lighting rig
to create excitement‘.
Raven, B. (2015) The introduction of LED Luminaires [Recorded Conversation]. 9 October
2015, 21:00
‘I quite like that quote and it is absolutely true. If you come out of a play and your main
memory is the lighting then as a piece of drama it has failed. The best lighting is when you
barely notice it. It is slightly different to good ‘sound’ when the ultimate compliment is when
you can’t remember anything about the sound on an event.
With lighting it is different as it has to be more visible by definition but it should also be integral
to the piece. It is no surprise that some of the best lighting I have ever seen has been by
designers like Paule Constable who spend a huge amount of time in the rehearsal room and
are an integral part of the creative team (her work on shows like War Horse and Curious
Incident are perfect examples). The lighting has to complement the play, help tell the story,
explain the time of day, transition in time, add realism to the setting and reflect changes in
mood & tone.
Another example would be Rick Fisher’s lighting and Ian MacNeil’s staging for the current
production of An Inspector Calls….without Rick’s lighting the play wouldn’t have anywhere
near the impact but without the play…the lighting is pointless.’
Valchar, J. (2015) The introduction of LED Luminaires [Recorded Conversation]. 6 October
2015, 15:30. PLASA 2015.
‘When LEDs initially flooded the market and became 'the thing to have' LDs went overboard.
In our latest range we have refined this with the DL range.’