09 ENIGMA Film Production


The video Enigma is a work that documents and narrates an experience that is made up of multilevel degrees of contrasting parallels. Such a narration finds its roots and initiation in a static apparition of an ash tree that is placed, repeated several times within the same shoot. The viewer has no idea what is going to happen and thus the apparition of the opulent eye stands as a contrasting undertone that is quickly disturbed by the denser tree shoot that marks a significant contrast with the light tone trees exposed in the initial entry shoot. The eye stands as a blinking transition to the following development.
Although the viewer has no vacant notion of what the whole thing is about, the music directs the focus towards an internal part of a persona. The ambience upon which such a person is reliant and finding itself in does not seem to confine well, thus the round motion brings out an ideology of disorientation. The swinging and roundness found in shapes becomes denser and more constant as the film moves further. This elemental quality allows the viewer to become increasingly anxious and still unaware of what will happen further on to the next sequential shoots.
Time finds no sense of functionality as the sequence is pushed back and forth. Motion has no sense of space and is directed into revolving sequential narrative that makes the viewer think and sink deeper into the allegory that is found within such a persona. The only calming parallel that is seen within such a chaotic environment is the hands and the gestures that the persona is capable to establish.
This establishing shoot makes an initiation to more subtle shoots that eventually become increasingly effective through the development of such a narrative. The elemental quality of water and focus stands as a significant part of the development which tries to resolve the pre sequential environment that previously did not elude a sense of belonging. The environment is deeply evaluated and the following shoots bring out a new tonal element for this concept video. The inner qualities of different anatomical features that are distributed within different shoots bring out the inner formations that are of awakening for the persona within the narrative.
The saturated tonal values, allow the viewer to acknowledge the layered tones that such hues distribute to the elemental meaning of the shoots presented. The silhouette effect found within sheds an increasingly significant outline for such tonal shade. The persona within such a shoot finds a constructive freedom that is still undermined with the situation that it is facing. The oppressive yet playful act of bringing out geometric forms makes the whole thing interesting to value and keep in mind.
Although the narrative moves into a development that resolves into something of more aesthetical value to it one is able to still question the purposes of such a formation. The persona is the only motivator that can control the passage of time. A sudden glimpse of the subject takes motion and we are able to get into the inner physicality of this perspective. Movement follows a sequence that is recurrent from one stage to the next of the narrative.
Time starts to follow an increasing pace that allows the viewer to move into another stage of the narration. The sudden and drastic formation of such shoots make the viewer feel uneasy and unable to establish sense from the narrative that he is unconsciously trying to solve. Yet like before the faithful hand and the small beads stand as a relevance of such turmoil. The change in angle shoot brings out a significant understanding of such a narration.
Although everything stands as over passing and chaotic for the viewer the narrative finds tranquillity in this mayhem, that is phased in through taking the perspective of the camera shoot. The subtle light and opening up of doors and windows make the viewer anxious to know the purposes of such a development. Moving into light or into darkness?
The dragging waves that stand on the sea bed, let the viewer wonder the existentiality of such a scenario. Where has the persona vanished? The eye is foreshadowed again, and one can see that the inner sense of such a situation brought out an acknowledgement of something. Time and space are never as straight forward as one would appreciate to be.
But such a narrative allows the viewer to understand that life is a series of confusion and there is no sense of mundanely in its relevance. The depth of such images will always remain a mysterious allegory that only the voice within can shed an honest understanding of all the chaos presented.

T&P 2A- Outcome 2- Science of Light – Page 41-49

Light is a crucial element that enable us to produce photos. It is thus a source that is crucial for a photographer to analyse and acknowledge its principals and functionality.

Digital Cameras found into today’s era function with a different light sensibility from the film cameras that were utilized extensively before. Digital SLR cameras have a sensitive CCD sensor or CMOS sensor. Through this sensor light is detected and images are thus produced.

Auto White Balance has the ability to decide the Colour cast of the particular scene of shoot. In each and every digital camera a colour cast is pre set from the factory.  The famous Kelvin has acknowledge and studied into depth the notion of Light source and the temperature that comes within such an element. He was able to acknowledge that the light in the morning vs that of the sunset had different tonal quality with variable heat capacity.

DEGREE KELVIN SCALE of daylight is thus 5,200 degree/K.

Thus the whitest part of an image is a significant and important part for a photographer to measure. This is because white has no colour cast as it is the clearest point.

Colour Casting is a significant part for one to analyse as it provide a constructive elemental feature in the work that one will be able to produce. Van Gogh’s work is a good example for one to evaluate. His work justifies and brings into life how deeply significant is the acknowledgement and study of colour range temperature.  The accurate and closer one is able to bring out from the colour temperature the real and more refined the result will be.


Blonde 2000K

HMI 650K

In this Workshop we have investigated and brought into light 3 different light sources. The initial work has been processed through an incandescent; fire burning light that heats up quickly. Such a light has a degree of resistance that produces an orange colour cast.

– Blonde, 2,000K- 3,000 Degree/Kelvin

-Red Head ( younger sister of the blonde hehe) 650 W

Through a Blue filter placed in front of such light sources one is able to produce a Daylight like temperature of 5,200 Degree/Kelvin.

The second Light sources that we investigated was that of the cool HMI- Discharge light source. Such a light source has principles that allow it not to get hot and remains stable all the time. Such a light source is good for producing Stop Animation with, as it provides same light intensity. A filter or a soft box is needed to produce a daylight effect or a cloudy effect light. NB when the bulb is warming up the colour is that of deep Blue as this intensifies it changes into a purer hue.

The final light source that we were able to analysis was that of the LED light source. Such a technology is one that will eventually overtake in the near future. Such a light has a wide range of light which produces soft shadows. Such a light source is extensively employed in a film based quality of light.

Testing Different Light Sources:

Light Source HMI with Soft Box on

AWB 02

AWB- Auto White Balance

Cloudy 02

Cloudy (6000K)

Custom 02 - Without the White Balance set up

Custom Done without White Sheet TESTDAYlight 02                                                            DAYLIGHT (5200K)Flash 02                                                            FlashShade 02                                                            Shade (7000K)Tungsten light 02                                                           Tungsten Light (3200 K)White fluorescent light 02

White Fluorescent (4000 K)

LED light Test 

AWB 01


Cloudy 01                                                           Cloudy (6000K)

Daylight 01

Daylight (5200 K)

Shade 01


Flash 01                                                           Shade

Tungsten Light 01

Tungsten Light (3200 K)

White fluorescent light 01                                                            White Fluorescent (4000K)

Custom White Balance Set up done with an HMI light source. 


White Paper Test Setup. Ideally The whole view finder is the full paper area. Make sure that the photo produce is that of white. Through menu setup one can configure the colour cast, and the below result was attained. Whilst doing this we had some initial problems bringing out a clear white photo. Through the employment of Blue, Green and Red we tried to balance out the scene and the problem was solved. 04 05

Working with Raw File and Bridge Processing

After taking a good number of photos in RAW format one should evaluate white balance colour cast that is subjective to the light condition that one puts his frame in. Through the conversion of raw file one is able to see the different colour temperature via the histogram either done through Photoshop or Capture One process.

As you can see below I have tested different colour temperature valued through the conditions presented in the following examples.

01 02 03 04 05 06 07 08 09 10 11 12

Through this technique one is able to find and understand the the pre sets found within a camera and it auto white balance. Things and details can still adjusted within a raw file. The most significant adjustment that one can do through a raw file histogram is to target colour mainly those of R G B. This is a scientific way of how one should acknowledge colour in a camera and qualities it has within.

Within such a histogram one is able to vary colour values, shadows, highlights, exposure, contrast, tint etc. Any colour image is produced through the variant of R G B thus the main foundation of a formulation is within these hues.  It is thus the complimentary colours of the RGB that one can get when trying to attain a pure white balance understanding of an image.




This is a significant part of the functionality of a histogram. One should always be aware of what is happening within these hues.

R G B – when one attains the same number – thus the image has an overall of same white – thus mutualizing the same layers.

One should always keep in mind that over doing it during edited stages, might not be an ideal way of crafting one’s skill. When light condition etc are in raw wrongly attained one should always rework and re shoot for a better understanding.  All this will allow you to further acknowledge the analytical process and avoiding overdoing through digital means.


Through such a workshop I could further understanding the significance of colour temperature and the light surroundings that one takes for granted at times. In such a concept has allowed to understand the functional and broad investigation of different light casting. Each and every elemental principal of light should be increasingly investigated, as it will justify and profoundly effect the final photographic results of one’s perception.

Further Reading and Research: