images and tables

Unless otherwise noted, all photographs and diagrams in this book were created by the author.

Introduction: Production shot from Closer Than Ever, Penn State Centre Stage, Summer 2005. [1]

Chapter 1: Production shot from Unto These Hills, Cherokee Historical Society, 2007.

Figure 1.1 – Cutaway view of the human eye. [2]

Figure 1.2 – Traditional SLR film camera – Nikon F2 with 35mm f/2 lens.

Figure 1.3 – Cutaway view of 35mm film camera. [2]

Figure 1.4 – Cutaway view of DSLR camera. [2]

Figure 1.5 – Olympus Stylus 790 SW point & shoot camera.

Figure 1.6 – Cutaway view of mirrorless camera. [2]

Figure 1.7 – Canon PowerShot SX10 IS with 20x optical zoom lens.

Figure 1.8 – The back of the Canon PowerShot with LCD screen deployed.

Figure 1.9 – Nikon D200 with 35mm f/1.8 lens.

Chapter 2: Production shot from Singin’ the Moon Up, Penn State Centre Stage, Summer 2005. [1]

Figure 2.1 – Family selfie in Old Town Square, Prague, 2015.

Figure 2.2 – Autofocus light on Nikon D200.

Figure 2.3 – Sharp focus detail of scene from Carousel, Bucknell University, Oct. 2016.

Figure 2.4 – Sharp focus detail of pixel strip from passive autofocus system.

Figure 2.5 – Blurry focus detail of scene from, Carousel Bucknell University, Oct. 2016.

Figure 2.6 – Blurry focus detail of pixel strip from passive autofocus system.

Figure 2.7 – Typical manual/autofocus switch location.

Figure 2.8 – Autofocus area mode selector switch.

Figure 2.9 – Typical viewfinder in a DSLR camera. 6

Figure 2.10 – Lens flare from Eagle Dance, Unto These Hills, Cherokee Historical Society, 2006.

Figure 2.11 – DSLR camera and lens without hood.

Figure 2.12 – DSLR camera and lens with hood attached.

Figure 2.13 – Lens flare without hood.

Chapter 3: Jail scene, Our Country’s Good, Brandeis University, 1994.

Figure 3.1 – Ansel Adams’s Exposure Zone System. 9

Figure 3.2 – Exposure Zone System with camera set to 10 optimally expose for Zone VIII.

Figure 3.3 – Exposure Zone System with camera set to 10 optimally expose for Zone V.

Figure 3.4 – Typical light meter embedded in viewfinder.

Figure 3.5 – 18% grey card for meter balancing.

Figure 3.6 – Gossen Starlite 2 handheld photographic 14 light meter.

Figure 3.7 – Metering mode selector on the D200, 15 currently set to color matrix metering.

Figure 3.8 – Over-exposed shot caused by field metering.

Figure 3.9 – Properly exposed shot three stops under-exposed.

Figure 3.10 – Nikon D200 with built-in flash deployed.

Figure 3.11 – Candid photograph of Mike Birardi and Katy Morgan without flash.

Figure 3.12 – Candid photograph of Mike Birardi and Katy Morgan with flash.

Figure 3.13 – Diagram of Inverse Square Law.

Chapter 4: Opening moment, Proof, Penn State Centre Stage, July 2007.

Figure 4.1 – Aperture readout inside the viewfinder display.

Figure 4.2 – Shutter speed readout inside the viewfinder display.

Figure 4.3 – Film speed readout inside the viewfinder display.

Figure 4.4 – The Exposure Triangle. [2]

Figure 4.5 – The Exposure Triangle with the camera set to ISO 400, f/5.6 @ 125th. [2]

Figure 4.6 – The Exposure Triangle with the camera set to ISO 400, f/4 @ 250th. [2]

Figure 4.7 – The Exposure Triangle with the camera set to ISO 800, f/5.6 @ 250th. [2]

Figure 4.8 – The MacBook Preview screen with the Inspector window.

Chapter 5: Student working at the light board, rehearsal of Pentecost, Penn State University, Sept. 2009.

Figure 5.1 – 35mm lens with aperture adjusted to an open setting.

Figure 5.2 – 35mm lens with aperture adjusted to a closed setting.

Figure 5.3 – Manual 35mm lens with maximum aperture of f/2. (Shown as 1:2.)

Figure 5.4 – Autofocus 35mm lens with maximum aperture of f/1.8.

Figure 5.5 – Canon PowerShot zoom lens 5mm–100mm with variable aperture of f/2.8–5.7.

Figure 5.6 – Olympus Stylus zoom lens 6.7mm–20.1mm with variable aperture of f/3.5–5.

Figure 5.7 – Motorola Droid Maxx with prime lens with maximum aperture of f/2.4.

Figure 5.8 – Manual 35mm lens with aperture set to f/5.6.

Figure 5.9 – Manual 35mm lens with aperture set to f/4.

Figure 5.10 – Manual 35mm lens with aperture set to f/11.

Figure 5.11 – Camera set to f/2.8, 7’ from the table, with the focus on the moose.

Figure 5.12 – Camera set to f/2.8, 7’ from the table, with the focus on the wolf.

Figure 5.13 – Camera set to f/2.8, 7’ from the table, with the focus on the cheetah.

Figure 5.14 – Camera set to f/16, 7’ from the table, with the focus on the moose.

Figure 5.15 – Camera set to f/16, 7’ from the table, with the focus on the wolf.

Figure 5.16 – Camera set to f/16, 7’ from the table, with the focus on the cheetah.

Figure 5.17 – Camera set to f/2.8, 21’ from the table, with the focus on the moose.

Figure 5.18 – Camera set to f/2.8, 21’ from the table, with the focus on the wolf.

Figure 5.19 – Camera set to f/2.8, 21’ from the table, with the focus on the cheetah.

Figure 5.20 – Kitri from Don Quixote, Russian Ballet of Delaware, 1995.

Figure 5.21 – Nikon 80mm–200mm zoom lens with depth-of-field markings.

Chapter 6: Dream ballet from Carousel, Bucknell University, Oct. 2016.

Figure 6.1 – Manual shutter speed setting on Nikon SLR camera.

Figure 6.2 – Bouncing ball #1: Camera set to f/2.2 at 1/1600th.

Figure 6.3 – Bouncing ball #2: Camera set to f/7.1 at 1/200th.

Figure 6.4 – Bouncing ball #3: Camera set to f/13 at 1/60th.

Figure 6.5 – Bouncing ball #4: Camera set to f/22 at 1/8th.

Figure 6.6 – Basic tripod with baseplate.

Figure 6.7 – Threaded bolt and removable baseplate.

Figure 6.8 – Rubber tripod feet for smooth surfaces or delicate surfaces.

Figure 6.9 – Steel spikes for outdoor use.

Figure 6.10 – Traditional mechanical shutter release cable attached to Nikon SLR camera.

Figure 6.11 – Modern electronic wired shutter release cable and remote.

Figure 6.12 – DSLR mounted on tripod with shorter leg lashed to seats. [2]

Figure 6.13 – Detail of Paracord lashing on tripod. [2]

Figure 6.14 – Tripod set with two legs toward back of house and placed into the seating. [2]

Figure 6.15 – Tripod with legs lashed together to create a monopod. [2]

Figure 6.16 – Converted monopod in use. [2]

Figure 6.17 – Monopod/Walking stick in use. [2]

Figure 6.18 – Traditional shutter release button on Nikon SLR camera.

Figure 6.19 – Current shutter release button on Nikon DSLR camera.

Figure 6.20 – Step 1: Extend the strap and remove any twists or kinks. [2]

Figure 6.21 – Sketch of Step 1. [2]

Figure 6.22 – Step 2: Reach right hand up through the loop of the strap from below. [2]

Figure 6.23 – Sketch of Step 2. [2]

Figure 6.24 – Step 3: Settle the loop of the strap just above your elbow so your arm passes over the strap end on your right, and under the strap end on the left. [2]

Figure 6.25 – Sketch of Step 3. [2]

Figure 6.26 – Step 4: Now for the tricky part – reach around and under the right-side strap end and grip the camera; your hand moves clockwise around the right-side strap to accomplish this. [2]

Figure 6.27 – Sketch of Step 4. [2]

Figure 6.28 – Step 5: Final arrangement of straps and adjusted for comfortable tension. [2]

Figure 6.29 – Sketch of Step 5. [2]

Figure 6.30 – Seated on back of chair in the house. [2]

Figure 6.31 – Side view of seated pose. [2]

Figure 6.32 – Front view of seated pose. [2]

Figure 6.33 – Side view of “Weaver” stance. [2]

Figure 6.34 – Side view of “bracing” stance. [2]

Chapter 7: R.U.R., power-plant attack scene, Brandeis University, 1993.

Figure 7.1 – Manual ASA/ISO setting on Nikon SLR camera.

Figure 7.2 – ISO sensitivity setting on Nikon DSLR camera. ISO set to 800.

Figure 7.3 – Cheetah toy with film speed set to ISO 100, f/2.8 at 1/8th, no digital NR.

Figure 7.4 – Cheetah toy with film speed set to ISO 800, f/2.8 at 1/160th, low-level digital NR.

Figure 7.5 – Cheetah toy with film speed set to ISO 1600, f/2.8 at 1/125th, high-level digital NR.

Figure 7.6 – Cheetah toy with film speed set to ISO 3200, f/2.8 at 1/250th, high-level digital NR.

Figure 7.7 – Cheetah toy with film speed set to ISO 1600, f/2.8 at 1/40th, digital NR disabled.

Chapter 8: Cop song, Urinetown, Penn State University, Oct. 2006. [3]

Figure 8.1 – Visible spectrum of light. [2]

Figure 8.2 – Kelvin temperature scale. [2]

Figure 8.3 – Object lit with incandescent source, D200 set to 3200° Kelvin.

Figure 8.4 – Object lit with incandescent source, D200 set to 5600° Kelvin.

Figure 8.5 – Object lit with incandescent source, D200 set to 6300° Kelvin.

Figure 8.6 – Object lit with incandescent source, D200 set to 10,000° Kelvin.

Figure 8.7 – Object lit with white LED source, D200 set to 3200° Kelvin.

Figure 8.8 – Object lit with white LED source, D200 set to 5600° Kelvin.

Figure 8.9 – Object lit with white LED source, D200 set to 6300° Kelvin.

Figure 8.10 – Object lit with white LED source, D200 set to 10,000° Kelvin.

Figure 8.11 – Object lit with white arc source, D200 set to 3200° Kelvin.

Figure 8.12 – Object lit with white arc source, D200 set to 5600° Kelvin.

Figure 8.13 – Object lit with white arc source, D200 set to 6300° Kelvin.

Figure 8.14 – Object lit with white arc source, D200 set to 10,000° Kelvin.

Figure 8.15 – Object lit with incandescent source, shot with Droid Maxx camera phone.

Figure 8.16 – Object lit with white LED source, shot with Droid Maxx camera phone.

Figure 8.17 – Object lit with white arc source, shot with Droid Maxx camera phone.

Figure 8.18 – 52mm 80A filter for my film cameras.

Figure 8.19 – Roll of Kodak Ektachrome 320T color slide film.

Figure 8.20 – Setting the D200 to 3200° Kelvin.

Figure 8.21 – SPD of daylight at noon with a clear sky. [4]

Figure 8.22 – SPD of daylight at noon with a cloudy sky. [4]

Figure 8.23 – SPD of ETC Source Four Leko with incandescent HPL 575-watt lamp and no gel. [4]

Figure 8.24 – SPD of ETC Source Four Leko with Series 2 Lustr+ LED color engine, set to white. [4]

Figure 8.25 – SPD of Vari*Lite VL3000 with 1200-watt arc source, set to white. [4]

Figure 8.26 – SPD of cool white fluorescent tubes. [4]

Figure 8.27 – SPD of ETC Source Four Leko with incandescent HPL 575-watt lamp with Roscolux 26 gel. [4]

Figure 8.28 – SPD of ETC Source Four Leko with Series 2 Lustr+ LED color engine, set to emulate Roscolux 26 gel. [4]

Figure 8.29 – SPD of ETC Source Four Leko with incandescent HPL 575-watt lamp with Roscolux 68 gel. [4]

Figure 8.30 – SPD of ETC Source Four Leko with Series 2 Lustr+ LED color engine, set to emulate Roscolux 68 gel. [4]

Figure 8.31 – SPD of ETC Source Four Leko with incandescent HPL 575-watt lamp with Roscolux 90 gel. [4]

Figure 8.32 – SPD of ETC Source Four Leko with Series 2 Lustr+ LED color engine, set to emulate Roscolux 90 gel. [4]

Figure 8.33 – Ball, foam, rainbow cloth under clear incandescent Leko.

Figure 8.34 – Ball, foam, rainbow cloth under incandescent Leko with Roscolux 26.

Figure 8.35 – Ball, foam, rainbow cloth under incandescent Leko with Roscolux 68.

Figure 8.36 – Ball, foam, rainbow cloth under incandescent Leko with Roscolux 90.

Figure 8.37 – SPD of ETC Source Four Leko with incandescent HPL 575-watt lamp with Roscolux 44 gel. [4]

Figure 8.38 – SPD of ETC Source Four Leko with incandescent HPL 575-watt lamp with Roscolux 70 gel. [4]

Figure 8.39 – Lion and fabric under clear incandescent light, camera set to 3200° Kelvin.

Figure 8.40 – Lion and fabric under clear incandescent light, camera set to auto white balance.

Figure 8.41 – Lion and fabric under Roscolux 44 incandescent light, camera set to 3200° Kelvin.

Figure 8.42 – Lion and fabric under Roscolux 44 incandescent light, camera set to auto white balance.

Figure 8.43 – Lion and fabric under Roscolux 70 incandescent light, camera set to 3200° Kelvin.

Figure 8.44 – Lion and fabric under Roscolux 70 incandescent light, camera set to auto white balance.

Chapter 9: Stroke and sedation moment, Wings, University of Connecticut, March 1990. [5]

Figure 9.1 – Final moment from La Voix Humaine, long shot in landscape mode.

Figure 9.2 – Final moment from La Voix Humaine, closer shot in portrait mode.

Figure 9.3 – Rule of Thirds on a 3” × 3” square.

Figure 9.4 – Rule of Thirds with intersections highlighted.

Figure 9.5 – Rule of Thirds applied to Carousel production shot.

Figure 9.6 – 3:2 aspect ratio, Luna Gale, Allegheny College, Feb. 2017. [6]

Figure 9.7 – 4:3 aspect ratio, Luna Gale, Allegheny College, Feb. 2017. [6]

Figure 9.8 – 16:9 aspect ratio, Luna Gale, Allegheny College, Feb. 2017. [6]

Figure 9.9 – Image size adjustment window in Photoshop.

Figure 9.10 – Shot of a character’s costume from Twelfth Night, Penn State University, Nov. 2016.

Figure 9.11 – Alternate shot of a character’s costume from Twelfth Night, Penn State University, Nov. 2016.

Figure 9.12 – Scene from Twelfth Night, shot from downstage center seating section.

Figure 9.13 – Scene from Twelfth Night, shot from a lower row in the stage right seating section.

Figure 9.14 – Scene from Twelfth Night, shot from the highest row in the stage right seating section.

Figure 9.15 – Court scene from Twelfth Night, shot from the downstage center seating section.

Figure 9.16 – Court scene from Twelfth Night, shot from the lower rows in the center of the stage right seating section.

Figure 9.17 – Court scene from Twelfth Night, shot from the downstage right vomitory.

Figure 9.18 – Exterior scene from Twelfth Night, shot from the downstage center seating section.

Figure 9.19 – Exterior scene from Twelfth Night, shot from the downstage right vomitory.

Figure 9.20 – Production moment from 1776, Penn State University.

Chapter 10: Battle of Horseshoe Bend, Unto These Hills, Cherokee Historical Society, 2007.

Chapter 11: Porch at night, Singin’ the Moon Up, July 2005. [1]

Figure 11.1 – Nikon DSLR mode button and setting indicator.

Figure 11.2 – Canon PowerShot metering mode selector, standard settings.

Figure 11.3 – Canon PowerShot metering mode selector, presets.

Chapter 12: Night scene, The Fantastiks, Nutmeg Summer Stage, June 1992.

Figure 12.1 – EV compensation menu button.

Figure 12.2 – Once pressed, you can access and change the EV compensation. This is currently showing an EV compensation of –1 stop.

Figure 12.3 – “On the meter” exposure taken with an aperture set to f/2.8 and a shutter speed of 1/8000th.

Figure 12.4 – Same shot with –1 EV compensation.

Figure 12.5 – Same shot with +1 EV compensation.

Figure 12.6 – Test shot taken at an aperture of f/2.8, a shutter speed of 1/320th, and no EV compensation. This bracketed shot is under-exposed by 1 stop from being “on the meter.”

Figure 12.7 – Test shot taken at an aperture of f/2.8, a shutter speed of 1/160th, and no EV compensation. This bracketed shot is “on the meter.”

Figure 12.8 – Test shot taken at an aperture of f/2.8, a shutter speed of 1/80th, and no EV compensation. This bracketed shot is over-exposed by 1 stop from being “on the meter.”

Figure 12.9 – Test shot taken at an aperture of f/2.8, a shutter speed of 1/640th, and an EV compensation of –1. This bracketed shot is under-exposed by 1 stop from being “on the meter,” but in reality, is 2 stops under-exposed.

Figure 12.10 – Test shot taken at an aperture of f/2.8, a shutter speed of 1/320th, and an EV compensation of –1. This bracketed shot is “on the meter,” but in reality, is 1 stop under-exposed.

Figure 12.11 – Test shot taken at an aperture of f/2.8, a shutter speed of 1/160th, and an EV compensation of −1. This bracketed shot is over-exposed by 1 stop from being “on the meter,” but in reality, is “on the meter.”

Figure 12.12 – Test shot taken at an aperture of f/2.8, a shutter speed of 1/2500th, and an EV compensation of −3. This bracketed shot is under-exposed by 1 stop from being “on the meter,” but in reality, is 4 stops under-exposed.

Figure 12.13 – Test shot taken at an aperture of f/2.8, a shutter speed of 1/1250th, and an EV compensation of −3. This bracketed shot is “on the meter,” but in reality, is 3 stops under-exposed.

Figure 12.14 – Test shot taken at an aperture of f/2.8, a shutter speed of 1/640th, and an EV compensation of −3. This bracketed shot is over-exposed by 1 stop from being “on the meter,” but in reality, is 2 stops under-exposed.

Chapter 13: Trail of Tears, Unto These Hills, Cherokee Historical Society, 2007.

Figure 13.1 – This is the auto-bracket menu button on my camera, which gives you quick access to adjusting the number of shots and exposure offset.

Figure 13.2 – This is the auto-bracket menu on my camera, where you can see the exposure range and number of shots selected. These can be adjusted on the fly with the two dials embedded in the shooting grip.

Figure 13.3 – This shot was taken with an aperture of f/2.8 and a shutter speed of 1/160th.

Figure 13.4 – This shot was taken with an aperture of f/2.8 and a shutter speed of 1/100th.

Figure 13.5 – This shot was taken with an aperture of f/2.8 and a shutter speed of 1/60th.

Figure 13.6 – This shot was taken with an aperture of f/2.8 and a shutter speed of 1/40th.

Figure 13.7 – This shot was taken with an aperture of f/2.8 and a shutter speed of 1/25th.

Figure 13.8 – The bottom part of the large dial here is marked S, Cl, and Ch, which refer to the shooting mode.

Chapter 14: Extraordinary Girl, American Idiot, Penn State University, Feb. 2017. [7]

Table 14.1 – Image size options, pixel counts, and print size.

Table 14.2 – Image format options.

Figure 14.1 – File format and size setting in lower left corner, and remaining exposures counter in lower right corner.

Table 14.3 – Exposure count based on file types (Nikon D200 & 8GB CF card).

Figure 14.2 – Three memory cards for digital storage of photos. Clockwise from bottom, Compact Flash (CF) Card, Secure Digital (SD) Card, eXtreme Digital (xD) Card.

Figure 14.3 – MicroSD memory card with SD card adapter.

Chapter 15: Final moment, 1776, Pavilion Theatre, July 2007.

Figure 15.1 – Model for Unto These Hills, Cherokee Historical Society, 2006. [8]

Figure 15.2 – Production shot, Unto These Hills, Cherokee Historical Society, 2007.

Figure 15.3 – Pavilion Theatre, model for 1776. [2]

Figure 15.4 – Final moment with projections, 1776, Pavilion Theatre, July 2007.

Figure 15.5 – Projections moment, American Idiot, Penn State University, Feb. 2017. [7]

Figure 15.6 – Projections moment, Last Train to Nibroc, University of Nebraska–Lincoln, March 2001.

Figure 15.7 – Scenic design, A View from the Bridge, Brandeis University, 1993. Scenic design by Karl Eigsti, scenic art by Bob Moody.

Figure 15.8 – Scenic design, Carousel, Bucknell University, Oct. 2016. Scenic design by Andy Nice, direction by Emily Martin-Moberly.

Figure 15.9 – Twelfth Night, floor paint sample in paint shop. [9]

Figure 15.10 – Twelfth Night, floor basecoat with painter’s tape. [9]

Figure 15.11 – Twelfth Night, floor painted before tape removed. [9]

Figure 15.12 – Twelfth Night, floor after tape removed under work light. [9]

Figure 15.13 – Twelfth Night, floor side view under show light. [9]

Figure 15.14 – Twelfth Night, floor long view under show light. [9]

Figure 15.15 – Twelfth Night, floor under show light with performers.

Figure 15.16 – Moment from La Voix Humaine, Penn State School of Music, Oct. 2015. Shot at an aperture of f/2.8 and a shutter speed of 1/125th.

Figure 15.17 – Moment from La Voix Humaine, Penn State School of Music, Oct. 2015. Shot at an aperture of f/2.8 and a shutter speed of 1/80th.

Figure 15.18 – Moment from La Voix Humaine, Penn State School of Music, Oct. 2015. Shot at an aperture of f/2.8 and a shutter speed of 1/45th.

Figure 15.19 – Base makeup completed.

Figure 15.20 – Adding first layer of latex to forehead.

Figure 15.21 – Adding layer of latex to cheek.

Figure 15.22 – Stretching the latex as it sets.

Figure 15.23 – Drying the latex to create the wrinkles.

Figure 15.24 – Line work on the latex appliques.

Figure 15.25 – Additional line work on the appliques.

Figure 15.26 – Adding powder over the line work.

Figure 15.27 – Applying the facial hair.

Figure 15.28 – Final touches before the wig.

Figure 15.29 – Final look with the wig.

Figure 15.30 – Final look with costume suit coat.

Figure 15.31 – Doublet and tutu for The Nutcracker, Eisenhower Auditorium, Dec. 2009.

Figure 15.32 – Church wall build process Step 1 – Arch framing, First Noel, Dec. 2016. [10]

Figure 15.33 – Church wall build process Step 2 – Arch frame installed, First Noel, Dec. 2016. [10]

Figure 15.34 – Church wall build process Step 3 – Full frame of flat, First Noel, Dec. 2016. [10]

Figure 15.35 – Church wall build process Step 4 – Front skin on flat, First Noel, Dec. 2016. [10]

Figure 15.36 – Church wall build process Step 5 – Inset window backing installed, First Noel, Dec. 2016. [10]

Figure 15.37 – Church wall build process Step 6 – Back of detail element, First Noel, Dec. 2016. [10]

Figure 15.38 – Church wall build process Step 7 – Front of detail element, First Noel, Dec. 2016. [10]

Figure 15.39 – Church wall build process Step 8 – Detail element and cross attached, First Noel, Dec. 2016. [10]

Figure 15.40 – Church wall build process Step 9 – Full flat in paint shop, First Noel, Dec. 2016. [10]

Figure 15.41 – Church wall build process Step 10 – Finished flat, First Noel, Dec. 2016. [10]

Figure 15.42 – Church wall build process Step 11 – Flat installed in venue, First Noel, Dec. 2016. [10]

Figure 15.43 – Ring flash unit with adapter for mounting and amber ring lens installed.

Figure 15.44 – Ring flash unit installed on Nikon D200.

Figure 15.45 – Shot of statuette using only top-light.

Figure 15.46 – Shot of statuette using only built-in flash.

Figure 15.47 – Shot of statuette using top-light and ring flash manually held to right side.

Figure 15.48 – Shot of statuette using top-light and ring flash installed on front of lens.

Figure 15.49 – Stage left proscenium arch, house left lighting ladder, balcony rail, catwalk, and acoustical clouds, Gladys Mullenix Black Theatre, Allegheny College. [11]

Chapter 16: Be More Chill photo-call getting ready to start, Penn State University, Fall 2016.

Figure 16.1 – Carousel dance moment – Shot #1 in the auto-bracket series.

Figure 16.2 – Carousel dance moment – Shot #2 in the auto-bracket series.

Figure 16.3 – Carousel dance moment – Shot #3 in the auto-bracket series.

Figure 16.4 – Unexpected “cast member” in my shot from Twelfth Night, Penn State University, Nov. 2016.

Figure 16.5 – The usual equipment and supplies found in my “go” bag for photo-calls.

Figure 16.6 – Photo-call shot list for Trouble in Tahiti, prepared by Stage Manager Jojo Sugg. [12]

Chapter 17: Penn State Spring Dance Concert, Playhouse Theatre, 2006. [3]

Figure 17.1 – Prologue from Trouble in Tahiti, Oct. 2016.

Figure 17.2 – Production moment from American Idiot, Penn State School of Theatre, Feb. 2017. [7]

Figure 17.3 – Production moment from Unto These Hills, Cherokee Historical Society, 2007.

Figure 17.4 – Production moment from For the Future – PSU Capital Campaign Closing Event, April 2014.

Figure 17.5 – Production moment from Spotlight on Musical Theatre, WPSU-TV, 2006. [3]

Chapter 18: Doubt, Penn State Centre Stage, Aug. 2013.

Figure 18.1 – Mac monitor calibration window.

Figure 18.2 – Color Munki screen calibration device.

Figure 18.3 – Color Munki calibration tool installed and in position for calibration.

Figure 18.4 – Photo-call picture against a white background of Word files.

Figure 18.5 – Photo-call picture against a dark desktop background.

Figure 18.6 – Julie and female chorus from Carousel, Bucknell University, Nov. 2016.

Figure 18.7 – Cropped version of Julie and female chorus from Carousel, Bucknell University, Nov. 2016.

Figure 18.8 – Production moment from Rimers of Eldritch, Penn State University, Fall 2005.

Chapter 19: Crypt scene, Romeo and Juliet, University of Nebraska–Lincoln, Oct. 2003.

Figure 19.1 – Corrupted file. This was the JPEG version of the shot.

Figure 19.2 – Sorting photo files on a MacBook Pro.

Figure 19.3 – This is an example of what a release may look like. This is what I used to obtain permissions for the photos in this book.

Figure 19.4 – Note the watermarked photo credit in the lower left corner. Twelfth Night, Penn State University, Nov. 2016.

Figure 19.5 – Close-up of Photoshop – adding layer with text for photo credit.

Figure 19.6 – Nikon camera lens with UV filter and lens cap. Note that the UV filter has no effect on the color or sharpness of the fabric it sits on.

Glossary of Terms: Jail scene, The Threepenny Opera, University of Connecticut, 1993.

Image Credits

[1] Production photos by William Wellman.

[2] Photographs, sketches, and diagrams by Jenny Kenyon.

[3] Production photos by Zak Keller.

[4] Spectral Power Distribution graphs were generated with an Asensetek Lighting Passport handheld spectrometer.

[5] Production photo by James Franklin.

[6] The photographs of Luna Gale are from a production at Allegheny College, directed by Mark Cosdon, scenery by Michael Mehler, costumes by Miriam Patterson, and lighting by William Kenyon.

[7] Production photos by Zach Straeffer.

[8] Set model photo by unknown photographer.

[9] Process photos by Paige Eisenlohr.

[10] Process photos by Matthew Lewis, scenic design by Dan Robinson.

[11] Venue photo by Amanda Fallon.

[12] Photo call list by Jojo Sugg.

[13] Headshot photo provided by USITT (Richard Finkelstein).

There are dozens of fellow designers with whom I’ve worked over the years who contributed their vast talents and skills to create the scenery, costumes, props, and other visual elements in the various productions that I have photographed. To list everyone involved in all of these productions would require a supplementary guide to this book, so please forgive me if I haven’t recognized you by name.