Client file size/type requirements

*This work should appear in your stand-alone professional practice page and then be used as and where required in your main design sheet contextualised with your current work. 

When you secure a commission to produce digital work with a client you cannot assume that the client understands what they need from you in terms of...

File type

Size of file

How it will be delivered

Who owns the copyright to the images

Rights of use

If you're commissioned by a new company, or one that doesn't normally work direct with photographers it will have to be you that educates the client with regards how this part of the process works. Quite often the person you deal with will have no idea of what you're talking about if you get technical with them. All they'll know is that they want pictures of 'X' or 'Y'.

You will have to basically educate them in the basics.

The example here "Musto" relates to a clothing brand

The biggest take away from this and the thing that you need to clearly show that you're aware of, is the fact that you don't dictate how this is done - the client does, so you shoot each individual image for the client and then they'll potentially expect you to save the file in a number of sizes and formats to suit their needs when they use the images... Some might be destined to be sent to a printer in one form and others will be sent to their IT/media dept to be put on websites as 72dpi jpeg or PNG's and others will be saved to be used to view in meetings. You have to liaise and ascertain what it is they need, or as mentioned above suggest and explain why they might need the images in a range of types and file sizes and in fact almost teach them.

You have to expect that they know nothing or have been working with cowboys previously. 

The ball park industry standard if not stipulated and requested is generally accepted as being 300dpi at A4 in size. 

Studio guidance - Lecturer directed stage

Start this task with A new design sheet...

(1). The main design sheet where you'll record the 'The in class activities' e.g. the studio shoots set up by the lecturer.

New S&K work that you should add over the coming weeks through to March and the final deadline should include as a minimum...

• Equipment used in conjunction with the studio 
• Model agencies - what they do, how they work
• Go-sees
• Model test shoots
• Roles associated with shooting in the studio 
• Studio H&S

The Main Design Sheet 

This needs to be produced quickly in the hours and days following each shoot making sure your write up your response to the activity before the next one. Some of it is repetitive and can be copied and pasted each time - components of the plan for instance, as you'll almost certainly be using the same camera, settings, lens, shooting in the same place and shooting the same model some of the time. You can also add an image of your camera and a wide shot of the studio when empty. 

This should feature the following content for each shoot. 

(1). A written plan - making sure you high-light potential problems and make suggestions as to how these will be resolved/addressed. Use the prompts here to produce a detailed plan... https://bteclinks.blogspot.com/2022/09/writing-plans-for-photo-shoots.html

(2). A reference image that shows the lighting technique that you're testing and practicing with. *Make sure you include a short paragraph or two at least, that details the image - what is the image, why it is or the Photographer of any significance, where has it been used, what type of photography is it?

(3). A clear floor plan using the standard symbols that we use, (that you've been shown) - ideally hand drawn as this evidences an important communication skill.

(4). Contact sheet/s

(5). The include a series of images of the following things...

• "Go see" style images of your model shot in a totally different environment using daylight. A head and shoulders shot and a full length shot. With a short description of your model with the details that a model would have on their 'Comp card' also known as a walker or Index card. 
• Wide shots of your set - 2 or 3 images that show where your lights are in relation to where the model is positioned. Ideally get someone to shoot one of these images from a distance that show you in the shot taking the pictures, again showing the lights as much as possible and the model. 
• Health & Safety Shots images that show either potential H&S issues or show that you've attempted work safely. 
• "Talent" Also known as the other people involved in your shoot. You should do an image of your assistant/s with a brief explanation of their role. Similarly anyone else that helps with your shoot. 
• Equipment the lights that you use -close up and any additional equipment you feel worth mentioning.  
• The Photos Add 9-15 of the best images from the shoot (Page to a page and half if your use 9 per page which is the recommended size on an upright page.
• Photoshop work If you do any post production e.g. the images will need to be adjusted using 'Auto-colour' use a screen grab.
• Portfolio full page images x 2 (Up to 4 if you've got 4 slightly different images).

• Finish off with a reflection. Use the standard prompts but with the analysis try and pick 5 key things you've learned in the previous week. Then be really self-critical and analyse one of your better images in terms of does it have any value in terms of being a potential fashion image? What more would you have to do to may it look like an actual fashion image? If you make an argument for the work being pretty near a professional image - justify your case by finding something very similar on-line or in a magazine and comparing. 

 

Writing plans for Photo-Shoots

 Throughout your work you're required to write up plans for you Photo shoots. 

Top Tip

When you write up your plans, make sure you "Sign post" the fact that you are doing so, by using a Bold heading using the wording from the criteria e.g. Plan and then highlight the plan using a colour as in the image below.

*NOTE Make sure you write up your plans in the present tense, do not write them up using retrospective (Past tense) language, otherwise they're not plans. If you're forced to write your plans up after the event, focus on using the correct language, ensuring it reads as though the plan was written before you executed the work. Top tip - Write them up before you do the work!

Plans sometimes don't go to plan, if they don't - just explain/analyse why in your reflective work. 

So, what do I write and how much? 

With regards to the question how much - there's no answer, but, you're looking to attain either passes, merits or Distinctions. Distinctions obviously require far more detail and evidence of knowledge and organisation. Plans will generally follow the use of reflection - Reflect - plan - Do.



Updated 3/3/25

Plans always follow a Reflection

The length of the plan is dictated by the complexity of the shoot, if it's a self-directed studio shoot involving set building, models, make-up artists, assistants, hair-stylists and changes to the lighting and set as seen in 2nd year work, the plan will be longer. 

Important - Use the plan to identify potential problems - One of the key criteria you have to address explicitly is Problem solving (AC2) Therefore, if anything in your plans is subject to being a potentially problematic - identify it and come up with a contingency plan. 

Typically the things that you should detail in your plan...

• Your idea/intention - outline of what you're going to do/learn
• Describe the potential operational context of the shoot
• When you plan to shoot.(You can include a weather report if shooting on location outside). 
• Where you're shooting the pictures.
• What camera you'll be using. (You can use images)
• What media your using.
• What focal length you'll be using.
• Whether you'll experiment with different focal lengths or change lenses.
• What kind of lighting you'll be using - soft, harsh, diffuse, point etc.
• If your copying someone's lighting techniques say who's.
• Who your model will be.
• Whether you're using tripods, reflectors, or any other equipment.
• Who your assistant will be.
• What you're testing out.
• Transport details
• Details about emptying SD cards - charging batteries.
• Contingency (Back up) plan in the event of any changes - models/light/weather
• When you intent to have films processed by and the work in your design sheet. 
• Any H&S issues and how you will address them.
• Problems you'll potentially encounter and methods to resolve  them

Top Tip Copy the bullet pointed list above and paste directly into your design sheet. Then write up your plan in response to these prompts and delete the prompts as you go.

Note - It's especially important that self-directed shoots and final shoots are the ones with the most detail, make sure these can be described as being comprehensive or detailed as these are often the descriptions used in the Criteria in order to attain merits and distinctions. 

The above is sufficient - More detail below & examples.

Planning your work (Photography & Art)

If within your assignment you have a requirement to plan - the following guidance may be helpful.

Dependent on what course you're doing there will be several units that require that you identify that you have planned parts of your work, there may also be a component that asks for you to clarify your intentions.

Planning should be identified at all stages when you undertake the production of work... Photography or Art. 

Use these prompts below to generate your plan

1. Clarify (Describe) what the intention is e.g. why you're making this work, making a direct link with the assignment content.

2. Where - say where your making the images - studio, location, explain why you're doing it there - strengths and weaknesses of the location/studio. Problems you might encounter what you'll do in advance to alleviate those problems. 

3. When - The date, time, explain why at that time, especially if on location - as the light will be dramatically different at different times of day. Be as technical as you can when talking about the light. Write about the time in terms of urgency and the assignment deadline.

4. What with - What camera and equipment are you using, what focal length lens, what tripod, what additional equipment will you need - will you have a back-up camera? Use a check-list in your book, have everything on the check-list - Empty SD card, charged batteries, additional batteries and SD cards. Tripod plates, cables, hotshoe adapters, light meters, extension leads, flash heads and other studio kit (Use the names/brands of the equipment).

5. How (Technique) - Explain how you're going to shoot the images, what approach will you use, how do you want it to look? Is it going to like or borrow something of a famous photographers style or technique? How are you going to ensure that you get the exposures right - what method will you use to do your light readings - maybe explain what metering pattern you use and say why. What are you going to do about your backgrounds? Do your backgrounds play an important part in the images visual language/narrative? How are you going to use the back-grounds - out of focus or in focus? How do you intend to use depth of field generally? What shutter speed will you hope to be using and why? What white balance will you use and why? What file type will you use and why?

6. Who with - Models, assistants, make-up artist, stylists, drivers etc. Who will you use as the model, could you find models? Are you using the same model again and again - why? Do you think that when you show your folio to prospective employers or Universities they might view this negatively? Have you used anyone else to style it or do any of the other roles in photography - see the image below of a Location shoot I witnessed as well as the photographer and the 1 model (Yasmin Le Bonn) there were at least 12 other people... Stylists, Make-up artists, hair-stylists, 4 x assistants, art director. Could your images be improved with more effort and attention to detail?

Whoever you do involve - say what their role is going to be as part of your plan.

7. Using what light Before you shoot, you should have some idea of the kind of light you want, what do you want the light to do - define shape, form and texture, or do you want light that wraps around the subject with low contrast? Again, make connections with other photographers work... I want to get the same effect as photographer a and b and write about the light using the correct terminology. With the light you should write about the time of day and weather and what you're hoping for - you could support this with weather reports - with images of charts showing the weather you'll probably get and then also include a weather contingency plan.

With the light - if you're in the studio use a floor plan diagram and add images or diagrams of the lighting equipment you're going to use and explain why and what effect this might have on the outcome.

8. Health and Safety Many of the units have a requirement to address H&S, so within your plan make sure you write about the H&S aspects that you have to deal with and explain what you do to ensure you, your model and any others that are involved in your shoot are also safe. 

9. Weather Mentioned earlier - the weather has a massive effect on location shoots, you might want a particular type of light for your shoot that meets your creative intentions if the light isn't right, explain what you'll do to deal with the light being not quite what you want.

10. Problems and problem solving Make sure you pre-empt any potential problems in your plans. Identify the problem/s and suggest what you'll do to resolve or mitigate the problem. Make sure you use the heading problem solving.

11. Operational context Always where possible in the plans write an explanation or at least identify the operational context of your planned work. Ideally have some details relating to where it would typically be seen. 

Studio Basics

 

Studio Stuff - Basics

Studio basics (For inspiration & ideas check out http://listofphotographers.blogspot.co.uk/ )

Here's some guidance regarding using the studio.

Equipment - The list here is broken up into 2 sections the first part is a minimal approach and the second section is my recommended full list and the third section is for 'Hardcore' serious students that are seriously interested in learning Studio lighting techniques.

• Hot shoe adapter
• Sync lead x 2
• Sekonic L308 light meter
• Tripod adapter
• Tripod
• Camera
• Lens with focal length of 55mm or longer

• Lens Hood
• Separate Slave (Wein)
• Extension cable (Sync)
• Extension cable (electric)
• Gaffer/Duct tape
• Masking tape
• Market Clips
• Modelling knife/scalpel
• String

• Tool box - Pliers, wire, screws, blue tac, string, fishing wire, a range of tapes, long nose pliers, nails, bulldog clips, crocodile clips, pegs, drawing pins,

Work in Progress Sekonic L308 flash/light meter.

 

 Basic set up in the studio.

 

You need to set your camera up ready so that it's configured for studio use...

 

Set your camera to Manual

Set your ISO to 100

Set your white balance to Flash

Use a focal length between 55mm - 70mm (DSLR)

Set your shutter speed to 1/125 (DSLR)

Consider using Manual focus

Fit the Hotshoe adapter

 

Now configure the Flash Meter for use in the studio...

 

1. Set the Invacone so that it is in the position as in the image above (e.g. covering the sensor). The invacone is the white dome on the front of the flash meter.

 

Starting at the top of the meter - press the power button and the LCD display will come on.

 

2. "Mode" By pressing the mode button you will see the that the 3 symbols next to the battery power symbol (Top left of the display) are highlighted by a box appearing around them when they are selected. Select the 'Flash Cord' mode e.g the one with the flash symbol and the letter C.

 

 3. "ISO" On the front of the meter is the ISO button, press this and hold it down whilst pressing the 'Up' and 'Down' arrows on the side of the meter. You'll see that the number next to the word ISO on the front right hand side of the display changes, this will need to be set so that it corresponds with your cameras ISO e.g. 100.

 

4. "Shutter Speed"; Using only the Up and Down buttons on the side of the meter watch the number next to the T symbol on the left hand side of the display. Adjust these numbers so that they are set to the same shutter speed as your camera e.g in this instance 125.

 

The meter is now calibrated and ready to go in conjunction with your camera being set up per the instructions above.

 

Once you've done this, arrange your lights in the manner you desire. Then using the flash meter, make an 'Incident' light-reading. (With white dome in place).

 

Plug the synch lead into the hotshoe adapter and the flash unit/head...

 

The Measurement of the light

The basic principle is - you measure the light that is falling onto the subject. This is the "primary" light source, you may introduce additional lights at different stages and the light readings will become more complex. So, in the first instance use one light and take a reading for that scenario.

Hold the light meter close to a key element of the subject. In the example above, it's a portrait, so the light reading is primarily for the face. Therefore hold the light meter almost touching the face (if not actually touching the face) and press the trigger button on the side of the meter at the top. This will trigger the flash and the light meter will register a light reading in the LCD panel next to the F (Largest number in the display). This will be the light reading measured in aperture values F2, F2.8, F4, F5.6, F8, F16 etc.

At this point you make a decision as to what aperture you want to use. Do you want limited minimal depth of field or maximum depth of field? Normally with a portrait, you want as much of the person in focus, so you would normally opt for an aperture of F8 or F11. These are also normally selected because your lens works best at these settings.

Get your assistant now to make the adjustments to the power output of the flash head, whilst you make the light readings.

 

 Using the dials on the side of the flash unit, your assistant makes adjustments either increasing or decreasing the power output. Each time they make an adjustment...

 

"Increase the power by 1 stop" They should dump the charge manually via the discharge button on the flash head before you make the next measurement. You make these adjustments until you get the required light output that you're after say for instance F11 (Which will be displayed as the F number on the LCD panel on the flash meter).

 

Warning - You have to ensure the reading is correct, the F number is recorded in whole values e.g f 8 and 1/10th values e.g. f 83. It is important that you are aware of these tenth values and that you adjust the lights accordingly and you're advised to work with whole values when you're learning the basics.

 

Don't stand in front of the light when you're measuring the light.

 

Once you adjusted the lights and they're giving you your reading of F8 and you've checked it, the model will have to stay in that light zone, if they move closer or further away the light reading will change because of Inverse Square Law. Keep control of your models make sure they stay on the same plane of focus, make a mark on the floor and ensure they stay in that zone. If they have to move around you will have to adjust the lights again.

 

Now set your camera to F8 and away you go!

 

Landscape Photography - Operational context

 Work in progress. 

Prompts to use... S&K design sheet work 

Fine Art (Local galleries) 

Editorial 

self-published

posters

There may be options to produce images for sale as posters, shops such as IKEA and Habitat. HMV sell posters too. IKEA by all accounts are exceptionally difficult to break into.

You need to factor in the deal and contract arrangements with such companies and see whether your cut of the sales figure makes it a worthwhile venture. When you negotiate the rights of use, be wary of giving your copyright away in entirety. 

If someone sells your work or markets it for you - always look as a base figure to get 50% of the sales price, although this may not be possible. 

If you search on-line there are numerous companies that sell posters direct and it may be worth exploring this as a possible outlet for your work? 

book illustration 

Company reports

Stock photography 

Target audience - demographics - clients - where seen - how used - 

USP - saturated market 

Examples of the worlds best - contemporary v traditional - explore Ed Burtynsky, Gursky, and some of the more contemporary photographers. Look at the The New Topographic's exhibition 1973 

Saatchi website for standard prices 

New topographics | Tate

New Topographics: Photographs of a Man-Altered Landscape · SFMOMA

S&K - Professional practice (AC4)

Over the 2 years, you should record all of your professional practice knowledge and learning in your S&K design sheet which is continually updated and added to as you learn. 

All of your tasks are assessed using the same assessment criteria AC4  Professional practice, so, to some extent the evidence you provide is repeated again and again throughout the duration of the course. 

It therefore makes sense that you keep all of the work done with regards these repetitive tasks in a designated document and re-use when required. 

Typically the S&K work for Professional practice will feature good use of images along with commentary demonstrating you've linked the knowledge with your current work and shown a good depth of knowledge on each of the themes. 

• MSDS's - example + explanation
• COSHH - example + explanation
• Health and safety pages - images and explanations - darkroom, studio, chemicals, PPE, lifting, carrying, surroundings, weather extremes, examples of photography that is intrinsically dangerous. 
• Model releases - example + explanation
• Rights of use documentation example + explanation
• Research and analysis of the roles associated with shooting in studios - Assistant, 2nd assistant, runner, make-up artist, hair-stylist, set-builder, studio manager, food economist. models, model agent.
• Costs sheets - explanations of their use and rationale.
• Go-sees what are they, how to they fit into the studio process (Jurgen Teller)
• Look books - evidence of using them - explanations of their rationale (model shoots).
• Trespass laws - examples of do's and don'ts - Use Southend beaches as example - can you shoot/film on the local beaches.
• Privacy and Photography
• Copyright law
• Wide shots of a studio set with explanations as to why these are used in your work
• Floor plan diagram (Generic) with legend with explanation as why they're used
• Floor markings in the studio - why are these a thing
• Back-up and contingency planning - explanation of what they are and why essential
• Equipment checklist - example + explanation

• Research and analysis into Studio hire - where - what's available costs and process involved
• Research and analysis into location hire - where - what's available costs and process involved and range of options.
• Research and analysis into equipment hire - where can you hire from what's the process and what's available?
• AOP (Association of Photography) Who are they - why are they a need to know company
• BIPP (British institute of Professional Photographers - who are the - why do you need to know about them - What are LBIPP. ABIPP and FBIPP's
• NUJ (National Union of Journalists) Who are they - why are they a need to know company
• Portfolio presentation - Generic information and detail about options
• Website - Generic information and detail about options
• Workflow - what is it, why is it important
• 
  

If you write up all these details in the S&K design sheet you can copy and paste (If necessary) the relevant bits into your current work. As you learn more with regards any of these aspects - add to the document and your evidence of knowledge.

Presentation and quality issues re hard-copy work

Create a separate dedicated page on the subject of...

Presentation methods, formats and conventions.

As with the other stand-alone pages, as you learn more about this aspect of photography return to this file/section of your work and add to it and keep doing so over the duration of the course and where needed add this content to the work you're doing, ensuring that it is contextualised in a relevant way. 

Your 'Finals' that you're currently printing off and adding to a portfolio are being produced in almost the worst form they could possibly be... Lazer copy printing using a photo-copy machine. But, the situation is currently universities and even some employers no longer insist on seeing high-quality portfolios when you're applying for a place on a course or a job. More often than not you'll be guided to produce your 'Portfolio' in a format of their choice which will be submitted digitally. Last year there were a range of methods that Universities requested, but the connecting factor was that it was important to be ready to submit the work and have it at your finger-tips as such and ready to be up-loaded or added to a document or portal.

Despite this, it's important that you are aware that outside of this scenario you need to have the knowledge and awareness of the formats, methods and conventions relating to the presentation of hard-copy and digital files in other professional scenarios. 

Medium format camera work: During this phase of the course you'll be introduced to high-quality print finishing that is seen in the production of traditional B&W photography printed for display in galleries and exhibitions. 

Initially all you need to do is collate basic information about each of the products from the Ilford/Harmon website. Using images, product information  for the following papers at the very least for this part of the work...

Ilford MG300 art paper

Ilford (FB) classic gloss

Ilford (FB) classic matt

Once you've used the paper and experienced the quality and its tactile aspects, you'll be able to add to your research your own thoughts and experiences of it - comparing it with the work you've printed previously on RC VC paper and lazer prints from poto-copy machines. 

What is the difference between Giclee and C-Type photo-paper (Digital Photography) see here https://www.theprintspace.co.uk/help/knowledge-base/difference-between-c-type-vs-giclee-prints/

https://www.redcliffeprint.co.uk/giclee-print-sample-pack.html

https://www.ilfordphoto.com/photographic-paper

https://www.theprintspace.co.uk/theprintspace-prints-sample-pack/

https://www.adobe.com/uk/creativecloud/photography/discover/standard-photo-sizes.html#:~:text=An%20image%20size%20of%201280,is%20also%20common%20in%20filmmaking.

Stand-alone pages - Lighting AC3 Technical

Over the 2 years, you should record all of your technical knowledge relating to light and lighting in a separate document... A stand-alone document which is continually updated and added to as you learn. 

All of your tasks are assessed using the same assessment criteria AC3 technical, so, to some extent the evidence you provide is repeated again and again throughout the duration of the course. 

It therefore makes sense that you keep all of the work done with regards these repetitive tasks in a designated document and re-use when required. For example throughout your work when you're shooting you have to make decisions based on what you're trying to communicate whether to use point or diffuse light. You may have written a detailed account of what diffuse light is during an earlier task - Objectivity, with diagrams and examples. If in the new task you use diffuse light, you should use the same diagrams and explanations in conjunction with your current work showing detailed knowledge of it and why it's the right choice for your subject. 

Also consider the wording of the criteria if you're looking to attain the higher grades...

 demonstrates accomplished selection and skilful application of media, materials, techniques and processes, showing thorough understanding of their impact on outcomes and ability to exploit them to meet intentions.

As an example you could have stand-alone page (A designated document) where you write up all your technical knowledge regarding lighting. Typically over the year this would feature the following...

Typically include

 

Point light – characteristics and properties, use diagrams to illustrate. Use own photographs of point light in use, showing light quality. Analysis of pro’s and con’s of using point light. Analysis of impact on line/form & texture. Examples of point light used in professional applications with an explanation as to why it is fit for purpose and being used in the instance that you choose.

Use images of lighting methods, techniques and materials that enable point light. Use images of typical sources of point light seen outside of the studio scenario along with annotation/analysis.

 

*Use my demo I did with the 8x4 poly-board when I moved the light from a frontal position to a side-on position revealing the impact on the surface. Explain what this related to.

 

Point light – turning the light side-on – why and what is the impact and what’s the rationale

 

Diffuse light - – characteristics and properties, use diagrams to illustrate. Use own photographs of diffuse light in use, showing light quality. Analysis of pro’s and con’s of using diffuse light. Analysis of impact on line/form & texture. Examples of diffuse light used in professional applications with an explanation as to why it is fit for purpose and being used in the instance that you choose.

Use images of lighting methods, techniques and materials that enable diffuse light. Use images of typical sources of diffuse light seen outside of the studio scenario along with annotation/analysis.

 

How to increase the point light attributes of the Gemini type Bowens flash heads.

 

Inverse square law – Detailed explanation with diagrams showing the impact of the application of inverse square law in studio lighting scenarios. Use my diagram using planet earth as an example and a diagram using a lighting scenario in the studio showing how the white background can be rendered black through the use of the application of inverse square law. How does this impact on decisions about the size of the studio when working as a professional.

 

Angle of incidence – analysis of scenarios and examples where this becomes an issue with regards the use of light 1. Red eye. 2, Flat-copying of shiny documents, 3. People wearing glasses. Use diagrams illustrating the issues and how this over-come.

 

Light ratios – using your cameras internal flash. Explain how the flash output can be controlled to provide ‘Fill-in flash’ as opposed to using it as the primary light source. Show your cameras settings and the sequence of instruction to enable and use this function. Use images demonstrating the impact of controlling the flash out-put.

 

Auto flash; how does it work? ­ Explain how auto flash works in conjunction with the absorbency and reflectance of the subject. This involves an explanation that requires an understanding of subject failure.

 

Colour casts & white balance Explain and show examples of colour casts and how they impact on your pictures. Do they always need to be corrected, in what situation are they acceptable if ever?

 

 

The golden hour – What are the advantages of the golden hour and in what photography is it frequently used. What are the key advantages of the golden hour – what is its impact – detailed explanations and examples of it being used, ideally with your own images. What of the colour cast?

 

 

North light – North light – what is it traditionally and what are its attributes and characteristics in photography, what of the colour cast, and how do you achieve it, what is its colour temperature?

 

Light & Objectivity  - What roles does the choice of light have in terms of objectivity, explain how and why light might be objective? Use example preferably your own

 

 

Light & Subjectivity - What roles does the choice of light have in terms of subjectivity, explain how and why light might be subjective? Use example preferably your own

 

 

White studio v black studio – Pro’s and cons. What are the advantages of one over the other.

 

Controlling daylight Using reflector boards and baffle boards. Use examples from the class session to show how you’ve controlled the exposure on the background and the subject with detailed explanations and floor plans showing your approach.

 

Lighting Floor plans – Why are they used? Show examples and show that you have a legend and use a consistent approach in your use of symbols.

 

 

Wide shots of sets – You have to include these as when they’re used with your floor plan diagram, it enables you to set up your lights in the same way. This should be explained in your work.

 

Floor markings – Why are these used, what are they?