Photography 2

Question 1

Types of LIGHTING

Answer 1

high key, high contrast, low key, three-point-lighting, overexposure

Question 2

High Key Lighting

Answer 2

bright, even illumination, no conspicuous shadows. comedies and musicals

Question 3

High Contrast Lighting

Answer 3

harsh shafts of lights and dramatic streaks of blackness. tragedies and melodramas

Question 4

Low Key Lighting

Answer 4

diffused shadows and atmospheric pools of light. mysteries, thrillers, and gangster films

Question 5

Three- Point- Lighting

Answer 5

key light, back light, fill light. key light- primary source of illumination, creates the area that first attracts the eye, contains the most compelling contrast- light and shadow. backlights separate the foreground figures from the setting. fill lights soften the harshness of the main light source, reveal some details that would otherwise be in a shadow.

Question 6

Overexposure

Answer 6

deliberately permitting too much light to enter the aperture of the camera- produces a glaring flood of light over the entire surface of the picture. nightmare and fantasy sequences. a sense of emotional exaggeration.

Question 7

Elements of COLOR

Answer 7

hue, saturation, color symbolism, colorization, film noir

Question 8

Hue

Answer 8

the name of the color, colors of the rainbow. presented by the color wheel. pure hue is maximum saturation, dominant color in the color we see- the origin of that color, one of the six primary and secondary colors, base color: red, yellow, blue

Question 9

Saturation

Answer 9

how ‘colorful’ the color is; intensity or purity of hue.

Question 10

Color Symbolism

Answer 10

subconscious element in film, strong emotional appeal, , expressive and atmospheric rather than intellectual; people tend to accept color passively, associated with adjectives, and the feminine; symbolic purposes- culturally acquired, cool colors- blue, green, violet suggest tranquility, aloofness, serenity, recede in an image; warm colors(red, yellow, orange)- assertiveness, violence, stimulation; come forward in an image

Question 11

Colorization

Answer 11

adding color to the originally black-and-white movies, throws off compositional balance of shots- creates new dominants that are irrelevant to the story; or adding color filters to convey meaning: blue, to make it icy and cold; red to alert to danger; depleating color of intensifying it also

Question 12

Film Noir

Answer 12

black- and- white, symbolic purposes;

Question 13

Lenses, Filters, Stocks

Answer 13

standard lense, telephoto lense: sharp, soft, rack focus. wide angle lense: fish eye lense, slow stock, fast stock

Question 14

Standard Lense

Answer 14

photograph subjects more or less as they are perceived by the human eye, minimum distortion (realist),

Question 15

Telephoto Lense

Answer 15

used to get close-ups of objects from extreme distances, like a telescope, long focal point- long lense; produce sideeffects that are sometimes used for symbolic purposes- deliberate blurring, enhance lyrical potential, , can be adjusted while shooting

Question 16

sharp focus

Answer 16

emphasizes importance

Question 17

soft focus

Answer 17

decreases importance

Question 18

rack focus

Answer 18

selective focus- able to neutralize planes and guide the viewer’s eye to various distances in a sequence; focus shifting technique- cause effect relationships

Question 19

wide angle lenses

Answer 19

short lenses- short focal lengths and wide angles

of view;

Question 20

slow stock

Answer 20

relatively insensitive to light and requires as much as ten times
more illumination than fast stocks. Traditionally, slow stocks are capable of capturing colors
precisely, without washing them out

Question 21

fast stock

Answer 21

highly sensitive to light and in some cases

can register images with no illumination except what’s available on location, even in nighttime sequences.