Category: ARP

The first slide highlights the size, age and gender breakdown of the group. As the visual shows , the sample was predominantly female identifying.

As the question is based around social justice, I thought it was pertinent to capture Ethnicity as this could have a bearing on the results. If the option arose I would have also captured disability (Seen and Unseen)

The majority of the sample has discovered their interest in content creation through their own journeys of self discovery, and only 3 or 23% of the sample being introduced to content creation via formal education at school or college prior to joining UAL.

The question of representation was added to get a feel of the respondents own experiences with media consumption. 23% saw themselves represented in mainstream broadcast media (Who all happened to be white) whilst the remaining 67% saw themselves represented in newer streaming and UGC (User Generated Content) services.

The question of consumption and its source was addressed here, with the main discovery that this particular sample no longer consumed content from traditional broadcast media. This figure aligns with studies by OFCOM, that reveal that in 2024, less than 48% of people 16-24 watch traditional broadcast TV

The answer to the question provided the qualitative element of the questions, the keywords quoted where:

Equality

Inclusivity

Representation

Awareness of Social Issues

‘Doing the right thing’

Although the image contains quantitative figures of the keywords, the data was extracted without any prompting from the interviewer or chosen from a list

As the visual shows, 77% of the sample felt that it was important to add social justice elements into their content creation strategy. The remaining 23% felt that their particular brand of content creation did not warrant including any assets from the Social justice tenent. From the 23%, one identified as a black female, and thus could be argued by simply producing the content and distributing it on her platform, she meets the inclusion criteria for social justice.

From the sample. only 1 participant had been taught to light different skin tones, 92% of the participants had no formal training enabling them to light different skin tones.

The Questions:

• What got you interested in content creation
• In the content you watch, do you see yourself reflected?
• Where is the best place for you to see this content? Broadcast TV? Streaming services? YouTube? 
• What does social justice mean to you?
• Do you see it as an important part of your content creation journey or strategy?
• What have you been taught/learned when capturing people of differing skin tones?
• Is there anything else you would like to add on the subject?

For my research methods I have chosen Appreciative Enquiry.

Appreciative Inquiry is a strengths-based approach to creating change. Rather than identify a problem and look at how to solve it, Appreciative Inquiry involves exploring what is already working and how to build on that. It is used to support organisational and individual change.

The research question, “Can teaching how to light darker skin tones assist in decolonizing cinema and video production?” is grounded in the methodology of Appreciative Inquiry. By adopting Appreciative Inquiry, my research aims to uncover the constructive role that equitable lighting practices can play in fostering inclusivity and diversity in visual media.

The study utilised video interviews as a primary data collection method, with structured interview questions designed to elicit narratives and insights from the students studying content creation.

These interviews focused on exploring the participants’ experiences, perceptions, and practices regarding both social justice and lighting darker skin tones in cinematic and video production contexts. The structured nature of the questions ensured consistency across interviews, while the appreciative inquiry approach encouraged participants to reflect on and articulate effective strategies, best practices, and the positive impacts of these approaches.

Through this methodological lens, the research seeks to illuminate how pedagogical shifts in teaching lighting techniques can contribute to the broader agenda of decolonizing visual media. This involves challenging and transforming the historically Eurocentric standards of cinematography that often marginalise or inadequately represent people with darker skin tones. By foregrounding the voices and experiences of those who have successfully navigated and mitigated these challenges, the study aims to offer a roadmap for more inclusive and equitable cinematic practices.

My research leverages Appreciative Inquiry to not only explore but also celebrate the advances in lighting techniques that honour the diversity of human skin tones. This approach underscores the potential for pedagogical reforms to play a critical role in dismantling colonial legacies in visual storytelling and production.

This response aligns with academic conventions, emphasising my research’s methodological basis and its broader implications for the field.

Pyne, B. and manager, R.P.L. general (2014). How Kodak’s Shirley Cards Set Photography’s Skin-Tone Standard. [online] NPR.org. Available at: https://www.npr.org/2014/11/13/363517842/for-decades-kodak-s-shirley-cards-set-photography-s-skin-tone-standard.

Lewis, S. (2019). The Racial Bias Built Into Photography. The New York Times. [online] 25 Apr. Available at: https://www.nytimes.com/2019/04/25/lens/sarah-lewis-racial-bias-photography.html.

Moore, C. (2019). What is appreciative inquiry? A brief history & real life examples. [online] PositivePsychology.com. Available at: https://positivepsychology.com/appreciative-inquiry/.

Wilkes, E. (2024). Bridgerton’s Adjoa Andoh criticises TV industry for not lighting Black actors correctly: ‘Nothing’s changed’. [online] NME. Available at: https://www.nme.com/news/tv/bridgertons-adjoa-andoh-criticises-tv-industry-for-not-lighting-black-actors-correctly-nothings-changed-3777715

Mats Alvesson (2011). Views on Interviews: A Skeptical Review. SAGE Publications Ltd eBooks, pp.9–42. doi:https://doi.org/10.4135/9781446268353.n2.

Converse, J. and Presser, S. (1986). Survey Questions. 2455 Teller Road, Thousand Oaks California 91320 United States of America : SAGE Publications, Inc. doi:https://doi.org/10.4135/9781412986045.

Arts.ac.uk. (2022). Details for: Visualizing research a guide to the research process in art and design / › UAL homepage catalogue. [online] Available at: https://libsearch.arts.ac.uk/cgi-bin/koha/opac-detail.pl?biblionumber=280015&query_desc=kw%2Cwrdl%3A%20visualising%20research

Kara, H. (2020). Creative research methods / a practical guide. Bristol: Policy Press.

Gray, C. and Malins, J. (2004). Visualizing research : a guide to the research process in art and design. Burlington, Verm.: Ashgate.

Academy, F. (2022). Filmmakers Academy Premium Education. [online] Filmmakers Academy. Available at: https://www.filmmakersacademy.com/lighting-black-skin-tones/.

Sung, Y.-L. (2022). Decolonising cinematography education: experimenting with lighting ratios and textures for Black and Asian skin tones. Film Education Journal, 5(2).

Xavier Harding, “Keeping ‘Insecure’ Lit: HBO cinematographer Ava Berkovsky on properly lighting black faces.” Mic (September 6, 2017)

Ann Hornaday, “‘12 Years a Slave,’ ‘Mother of George,’ and the aesthetic politics of filming black skin.” The Washington Post (October 17, 2013).

Nadia Latif, “It’s lit! How film finally learned how to light Black skin.” The Guardian (September 21, 2017).

Jen Yamato, “’Selma’s’ Bradford Young on the politics of lensing Black films.” Deadline (December 31, 2014).

Vox (2015). Color film was built for white people. Here’s what it did to dark skin. YouTube. Available at: https://www.youtube.com/watch?v=d16LNHIEJzs.

Still Watching Netflix (2022). How Black Photographers Play A Role in Social Justice Ep3 | STRONG BLACK LENS | Netflix. YouTube. Available at: https://www.youtube.com/watch?v=cgWHi1Be9eA.

Variety (2020). ‘Insecure’ Cinematographer Patrick Cady – Variety Artisans. YouTube. Available at: https://www.youtube.com/watch?v=46XB-kicjcI.

ResearchGate. (2024). Available at: https://www.researchgate.net/figure/The-Action-Research-Spiral-Kemmis-McTaggart-2007-p278_fig2_340933323.

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• Ethics form – DONE
• Draft activity plan/brief – DONE
• Run pilot with colleague/student – DONE
• Get feedback – DONE
• Refine activity – DONE
• Prepare observation templates – DONE
• Run research activity – DONE
• Capture outputs – DONE
• Reflect on session – DONE
• Debrief with observers – DONE
• Collate feedback – DONE
• Plan next steps – DONE
• Presentation slides – DONE

In my role as head of a video production company and broadcast lecturer, ensuring that everyone on screen is visually represented in the best possible way is both a responsibility and a challenge. For years, darker-skinned characters have faced chronic misrepresentation due to inadequate lighting techniques, a problem rooted in the history of film.

While strides have been made toward diversity in casting and recognition, the conversation about the aesthetics of representation remains underexplored. It is not just about who appears on screen but how they are seen, especially for people with darker skin tones.

Emil Collins, left and Adjoa Andoh, on set of Ben Aaronovitch’s Future Worlds Prize for Fantasy & Science Fiction Writers of Colour 2022 (Emil Collins /Socialize Media Films Limited )

In July 2024, Adjoa Andoh, who plays Lady Danbury on Netflix’s Regency-era show “Bridgerton,” (The streamers 5th biggest release) says the series still doesn’t light Black skin properly, despite its diverse cast.

Adjoa Andoh, left, and Daniel Francis sit in a pew as Lady Danbury and Lord Anderson in an episode of Netflix’s show “Bridgerton.” (Liam Daniel / Netflix)

Adjoa Andoh and Golda Rosheuvel on the set of Bridgerton season three LIAM DANIEL/NETFLIX

Katja Herbers and Mike Coulter on the set of Evil Season 1 CBS

“The continuing conversation about lighting Black skin — on every show, nothing’s changed,” she said in a recent podcast.

Andoh, who also had roles in films “Invictus” and “Fractured,” expressed that and other frustrations during the latest episode of “Stirring It Up.” Despite playing one of the sharpest and most influential women on “Bridgerton,” Andoh said, she doesn’t feel empowered in her career.

She said she feels comfortable speaking up now, but noted that the burden Black actors face to ask for what they deserve can be exhausting, especially compared with their white counterparts.

Historically, black actors have been disadvantaged by poor lighting, Ava DuVernay, director of 13th, has spoken out against this practice, emphasizing the need to light all actors thoughtfully. Cinematographers like Ava Berkofsky, who has pioneered techniques to enhance the appearance of black skin on shows like Insecure. Simple but impactful strategies—such as ensuring actors’ skin is well-moisturized to reflect light effectively—have significantly elevated on-screen representation.

Lighting should sculpt, not bleach, skin tones. This principle, evident in films like Boyz N the Hood and She’s Gotta Have It, is complemented by advances in digital technology. The power of these techniques is exemplified in films like Moonlight, where dark skin is rendered luminous under blue-tinted lighting.

A new generation of cinematographers, including Bradford Young (Selma, Pariah), James Laxton (Moonlight), and Rachel Morrison (Fruitvale Station) are revolutionizing the industry. Many, like Young, trained under pioneers such as Haile Gerima at Howard University, where the importance of cultural representation was deeply ingrained. These cinematographers build on a foundation laid by the likes of Ernest Dickerson and Arthur Jafa, creating works that challenge biases inherent in filmmaking technology. For instance, light meters and film calibrations historically prioritized white skin, sidelining accurate representation for people of colour.

The journey toward equitable representation on screen is intertwined with addressing these biases. Technological advancements now allow filmmakers to represent all skin tones accurately, but the real challenge lies in the industry’s will to embrace these tools. Films like Mudbound, Dope, and shows like Insecure showcase the rich diversity of blackness, moving beyond outdated tropes to celebrate darker skin tones and natural hair. This shift is about more than visibility—it’s about creating aspirational, nuanced portrayals of black lives.

Decolonizing the screen means acknowledging and addressing the historical erasure and neglect of darker-skinned actors. By embracing their beauty and richness, filmmakers can challenge the systemic biases that have long shaped cinematic representation. It’s time to move beyond shadows and bring the universe of blackness into the light.

This is why I have decided to research how I can decolonise content creation education by integrating techniques for lighting darker skin into my teaching practice and create the appropriate reference and teaching resources.

The original photography and cinematography lighting techniques and practices we teach were initially conceived with the idea of the best representation of white people and white skin. This may not have been on purpose, but it was an exclusionary factor. The clearest example of this is the ‘Shirley Card’

Example of a Kodak Shirley card (1978) courtesy of Hermann Zschiegner

For many years, this “Shirley” card — named for the original model, who was an employee of Kodak — was used by photo labs to calibrate skin tones, shadows and light during the printing process.
The Shirley card was the standard, so when film processors printed anything, they had to pull Shirley in. If Shirley looked good, everything else was OK. If Shirley didn’t look so hot that day, they had to tweak something as it was seen as incorrect.

Shirley cards go back to the mid-1950s, a time when Kodak sold almost all of the color film used in the U.S. After a customer used the film, they would bring the roll to a Kodak store to be printed. In 1954, the federal government stepped in to break up Kodak’s monopoly.

“The people who were producing the cards had a particular image of beauty, captured in the Shirley card,” says Lorna Roth, a media professor at Canada’s Concordia University who has researched the history of Kodak’s Shirley cards.

“At the time, in the ’50s, the people who were buying cameras were mostly Caucasian people,” she says. “And so I guess they didn’t see the need for the market to expand to a broader range of skin tones.” According to Roth, the dynamic range of the film — both still photo stock and motion picture — was biased toward white skin.

In the mid-20th century, Kodak dismissed complaints from Black mothers about their colour film’s inability to properly capture dark skin tones in their children’s desegregated school photos, reflecting the broader societal biases of the time. It wasn’t until Kodak’s corporate clients—specifically furniture and chocolate companies—demanded better representation of dark hues for their products that Kodak began to address the issue. By the late 1970s, Kodak introduced a more inclusive film formulation, signalled subtly through marketing phrases such as the new film had the ability to take a picture of a “dark horse in low light.” This poetic phrase was code to signal that darker human skin could now be registered with this new film.

Image from book jacket for Now Is the Time: Integration in the Berkeley Schools by Neil Sullivan with Evelyn Steward, 1969

In 1978, the filmmaker Jean-Luc Godard famously refused to use Kodak film to shoot in Mozambique because he declared the film was racist. People also complained that photos of blacks and whites in the same shot would turn out partially under- or over-exposed.

In the 1970s, photographer Jim Lyon joined Kodak’s first photo tech division and research laboratories. He says the company recognized there was a problem with the all-white Shirley cards.

“I started incorporating black models pretty heavily in our testing, and it caught on very quickly,” he says. “It wasn’t a big deal, it just seemed like this is the right thing to do. I wasn’t attempting to be politically correct. I was just trying to give us a chance of making a better film, one that reproduced everybody’s skin tone in an appropriate way.”

By then, other film companies had their own versions of Shirley cards, and Kodak started making multiracial norm reference cards with Black, Asian, Latinx and white Shirleys. Then came digital photography. Kodak went bankrupt in 2012 and re-emerged as a much smaller technology company. By then, it had already stopped making Shirley cards.

References:

Pyne, B. and manager, R.P.L. general (2014). How Kodak’s Shirley Cards Set Photography’s Skin-Tone Standard. [online] NPR.org. Available at: https://www.npr.org/2014/11/13/363517842/for-decades-kodak-s-shirley-cards-set-photography-s-skin-tone-standard.

Lewis, S. (2019). The Racial Bias Built Into Photography. The New York Times. [online] 25 Apr. Available at: https://www.nytimes.com/2019/04/25/lens/sarah-lewis-racial-bias-photography.html.

Ramirez, A. (2020). How 20th Century Camera Film Captured a Snapshot of American Bias. [online] Time. Available at: https://time.com/5871502/film-race-history/.

www.berkeleyschools.net. (2018). 50th Anniversary of Berkeley’s Pioneering Busing Plan for School Integration | Berkeley Unified School District. [online] Available at: https://www.berkeleyschools.net/2018/12/50th-anniversary-of-berkeleys-pioneering-busing-plan-for-school-integration/.

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Following on from the IP unit, I wanted to look at ways in which I could incorporate my learning as well as the universities UAL Climate, Racial and Social Justice principles into my ARP unit.

This lead me to the Five Principles of Social Justice. 

There are five main principles of social justice that are paramount to understanding the concept better. Namely, these are:

Access to resources 

Equity

Participation 

Diversity 

Human Rights

Digital media has quickly become one of the most valuable mediums for fueling social justice reform, helping not only to inform the public but also incite steps towards making changes for good. By making smart use of the digital landscape, a rapidly-growing population of activists is completely changing the way the public perceives their role in social justice. 

For many digital activists, the focus is to address the critical inequities in both access and representation. To achieve this, a new form of independent media has been born, giving social justice reform advocates a new way to communicate their vision to the public. Whether it’s through podcasting, vlogging, content creating, or other digital avenues, a new group of leaders have emerged with the goal of making the world a better place. 

As a broadcast lecturer, it has dawned on me very quickly that if you are not in control of your visual representation, someone else who wont have your best interests at heart will.