Part 4 Reflection

The feedback for Part 4 highlighted both strengths and areas for development in my recent work on lighting and long exposure photography. I was pleased to see that my reflections on lighting and its impact were acknowledged, particularly through the exercises where I experimented with different artificial light sources. This process helped me begin to understand how various types of lighting can dramatically change the mood and outcome of a photograph.

One of the key suggestions was to explore lighting not just as a tool, but as a subject in itself. Meaning I could consider how lighting can create atmosphere, evoke emotion, and contribute to storytelling within a still life or indoor setting. While I had started to do this in the banana exercise, it was noted that the image of the “banana sunbathing” felt disconnected from the others. In hindsight, I could have embraced the humorous tone more fully by developing that narrative across the whole set. Perhaps through actions like peeling the banana or introducing props that enhanced its character. This would have created a more cohesive and playful approach.

Technically speaking, I need to improve my handling of exposure when using experimental light sources. Some of the banana images were underexposed, which resulted in a loss of tonal range. Going forward, I’ll pay closer attention to exposure and consider bracketing shots or adjusting lighting placement to ensure that the full range of tones is captured, especially in low-light setups.

In assignment 4, I was encouraged by the feedback on my choice of subject and the development of the theme through a consistent visual approach. I found Marcus Doyle’s work especially inspiring, particularly the way his use of artificial light suggests a human presence that’s just out of frame. His cinematic style gave me a new perspective on how urban night photography can feel narrative-driven even when no people are present. I need to build on this by comparing the visual strategies of different photographers more directly in my reflections, deepening my analysis.

The feedback also pointed out that the first two images in my cityscape set were brighter and quite similar to each other, which affected the overall cohesion. This reminded me of the importance of curating a final selection that feels consistent not just in subject but also in tone. I plan to reflect more critically on what each image brings to a set and explore alternative combinations of images to better understand how small tonal or compositional changes can shift the impact of the work.

I acknowledged that working without a tripod limited the sharpness of my images. In future shoots, I will either secure a stable position, using a wall or another surface, or fully embrace the motion blur, using it creatively as seen in Dominic Pote’s work. This would allow me to lean into the expressive potential of movement rather than see blur as a flaw.

In summary, this feedback has shown me that I’m on the right path with my experimentation and reflection, but there is much more I can do to push my creative and technical development. I need to treat lighting as both subject and storyteller, refine my technical control, reflect more deeply on image selection, and become more intentional about presentation. These next steps will help strengthen both the visual impact and the conceptual depth of my photographic work.