Judas entrance during the number:
Jesus Christ Superstar

Lights I designed for Alice In Wonderland:
Photo 1: Show the introduction of the mad hatter scene. My fronts were R02 and R60. The cyc colors are R395, R325, and R347 with an R160 over them. My color wash for that scene consisted of R21(side lighting), R87(back lighting), R3202(side lighting), and R325(color).
Photo 2: Is the scene with Humpty Dumpty talking to Alice and later falling off the

The first photo is of the preshow look for my Junior year lighting design assignment of "La Guerra" where I took advantage of the wholly red set that was designed by accenting with R26.
The second photo is on the transition looks where I used R80 in the head highs of the dance booms to accomplish a contrast between the red on the floor and back wall and the actors.

These are my favorite photos from my high schools production of hairspray. I feel that these are very good representations of how a combination of color and directionality can (and does) result in a beautiful final product.

These were from a simple lighting design that I did a few months back, as part of my lighting design training for my technical theatre class at my high school. Due to the limited number of fixtures, I had to employ diffusion on many of the available instruments to create the washes I needed.

These were from a simple lighting design that I did a few months back, as part of my lighting design training for my technical theatre class at my high school. Due to the limited number of fixtures, I had to employ diffusion on many of the available instruments to create the washes I needed.

Creating romance on a small budget

The first photo is of a fight the two characters had.
The second is of a magic appearance of the book.
The third is a father daughter picture, with lover looking in the distance.

The first photo is of a fight the two characters had.
The second is of a magic appearance of the book.
The third is a father daughter picture, with lover looking in the distance.

This piece was lit soley with side lighting to enhance the shape and movement of the dancers bodies. The R14 came from the heads (highest position) and shins while the R49 came from the mids. Their costumes were a burgundy shade that popped with the R49.