It all began with a student sitting in a chair in attempt to light him in a variety of ways. Using the same equipment that we have talked about thus far into the subject, the class experimented with different lighting set ups to achieve different kind of looks. It is well and truly good to be able to have an extensive database of lighting set ups, but we also have to remind ourselves on why we light in a particular way. From the decisions made with the f-stop on a camera to the placement of a tungsten light 

I think for many of us, well probably more so myself, tend to associate lighting with mood at a very basic level. Having gotten past half way into the subject, I have felt a lot more mature about lighting set ups in reference to the mood that is required for a particular narrative. Prior to properly beginning to understand light in class, my complexity in the thought process of light and mood was very minimal. It is common, by default, to think that: 

” A sad scenario requires dark and moody lighting” 

And 

“A happy scenario required bright and colorful lighting” 

The mindset that I initially had was not necessarily wrong by any means, but it was just vague and one dimensional compared to how it is now.  Falling back to the exercise of the ‘student in the chair’. I avoid just throwing lights or cutting out light in a general location, I now purposefully put things in a specific location to specifically light the subject and the background in a non-accidental way. Keeping in mind the key to fill ratio, the hardness of the light and the f-stop used. However, all of these concepts are thought of after as the most important part of lighting is understand why we are lighting it. It all boils down to the narrative or the scenario we are shooting in, which is the primary influence on the lighting situation.