Task 3: Inside lighting workshop 1

Workshop Notes Sheet

Workshop Notes Sheet


The use of a white reflector/barndoor can even out the light if you are only using one light source.

lighting-diagram-1367080083 copy


The use of a black reflector/or barndoor creates half a shadowed face.

lighting-diagram-1367080126 copy



Diagonally across from Light

Diagonally across from Light by Becky Woodallhttp://www.facebook.com/l.php?u=http%3A%2F%2Frebeccawoodallphotography.wordpress.com%2F&h=PAQFa_O_8

The white reflector/ barndoor here is used to even the lighting if the lighting is further towards the front of the person, the reflector can even out the lighting if it is opposite to the source.

lighting-diagram-1367080176 copy

F5.7, 1/100, ISO100

Diagonally across from Light

Diagonally across from Light by Jenny Stonely


Lighting from above

Lighting from above by Jenny Stonely

If you use two white reflectors next to the model and the light source from the front angled down, the model will be evenly lit from all visible angles. The backdrop however has not been lit at all and will stay dark.

lighting-diagram-1367080233 copy

Lighting from above

Lighting from above by Emilie Taylor


Honeycomb with black reflector

Honeycomb with black reflector by Jenny Stonely

I particularly like this setup as it adds drama to the image. The use of the black reflector/barndoor creates a dark shadowed side to the face, however the other side is lit with the honeycomb. The honeycomb uses directional light, meaning that the backdrop is completely dark as well.

lighting-diagram-1367080390 copy


Honeycomb with white reflector

Honeycomb with white reflector by Jenny Stonely

This setup uses a two white reflectors and the directed honey comb. This creates a dark background, as the light is directed only at the subject. A shadow appears on the white reflector; this could be used for visual effect.

lighting-diagram-1367080339 copy


Having taken part in this workshop I understand a lot more about how light can be used and altered using reflectors, different angles and honeycombs. I particularly like the honey comb as the light is directional and creates impact in the photograph.

The image below shows my use of the honeycomb:

by Jenny Stonely

by Jenny Stonely

Following the tasks on the sheet meant that the workshop was more controlled, it was interesting to see what happened with particular setups. I am proud of the image above, I produced this using the honeycomb which directed the light in a controlled manner, meaning that I could use it for effect, creating the dark shadowy background.


Task 3: Outside lighting workshop 1


IMG_0002 2

Without Flash by Kellie Smart


IMG_0003 2

Flash by Kellie Smart


When photographing outside you need to take into consideration the ambient lighting as well as your potable lighting. Here the setup lights the subject by the side and leaves the background dark. The portable lighting must be brighter than the ambient light coming from behind to create the dark backdrop; this setting is ideal as the subway has very little ambient light.

lighting-diagram-1367079415 copy

F8, 1/125, ISO 100


IMG_0005 2

Without Flash by Anastasia Shub

IMG_0008 2

Flash by Anastasia Shub


Here you can tell the difference that the portable lighting makes, the first image with just ambient lighting, whereas the second image uses both. The portable lighting has evened out the shadows on the subjects face.

lighting-diagram-1367079599 copy



IMG_0013 2

Without Flash By Aaron Sehmar

IMG_0021 2

Flash by Aaron Sehmar


Here the lighting has been used to create a backlight. The subjects are framed by a halo of light. This was present in the first photograph because of the ambient light, however it is magnified in the second photograph because of the extra use of light.

lighting-diagram-1367079673 copy



IMG_0032 2

Without Flash by Trang Tran

IMG_0033 2

Flash by Trang Tran


Without the portable lighting the model doesn’t show at all, as you can see in the first image. However with the flash the camera picks up the person in the shadows; this creates a moody effect to the image.

lighting-diagram-1367079771 copy

F22, 1/125, ISO 100



Flash by Jenny Stonely

The limited light in the tunnel meant that it was perfect to create a silhouette in. If you set up the light directly behind the model you can create some interesting effects. I like this as the silhouette is sharp, dark, and has a detailed shape.


F20, 1/125,ISO100



Without Flash by Vicky Simkiss


Flash by Vicky Simkiss


This lighting setup allows for two people to be evenly lit, even when one is in the shade and one is in the sunshine. The portable lighting kit lights the model in the background, whereas the ambient light lights the model in the foreground. A light reading should be taken to check that both models have the same amount of light.



This was a great experience to have, as we worked together in a group to solve the problems we had and to create the lighting we desired. I enjoyed having my fellow students as the photographer, assistants and model, as it meant that we could communicate and work together as a class group.

Artifact informed by extra curricular activity

Song Artifact:

by JennyStonely

by JennyStonely

I chose the iconic song “these boots are made for walking” from the 60’s, as there was a natural link between this song and my great love of shoes. I felt this song had a great deal of power and influence. It has been used for many things, including films and political propaganda. The song was used on television coverage of troops during the American Vietnam War.

My interpretation of the lyrics were that the girl is seeing a guy who is metaphorically walking all over here and using her as a door matt, not treating her the way he should. And she is saying that one day the tables will turn and the same will happen to him.

I instantly thought about stiletto boots walking on a mans back and I saw a link to Paul Smith and his image of a woman jumping on a mans chest with stilettos on (http://www.paulmsmith.co.uk/portfolio/this-is-not-pornography/this-is-not-pornography.html).

My inspiration for the style of the shoot also came from Helmut Newton (http://www.helmutnewton.com). I found his images very useful as they had the same aesthetic style to what I wanted to capture in my imagery. I want to take the literal approach and photograph the boots actually walking all over a man.

Finding models that were willing to take part in this shoot was a challenge; I needed a male who would happily be walked on in boots, and a female who would walk on a mans back with care. I needed to know that the models would be able to be careful, and that the female would be able to walk on the man without actually hurting him with the stiletto. I wanted the shoot to look realistic, however I didn’t want anyone to actually get hurt. I know that this is sometimes an obstacle in industry as well, that the right models have to be chosen for the shoot, and this photo-shoot has helped me realise this.

I particularly like the images I have taken from above, as this angle demonstrates a feeling of dominance; this creates more impact. The song makes a bold statement and so I also wanted to do this with my images.

I chose to pin these images to a boot, as I felt that the main subject of the song was the boots, and how “these boots are made for walking”. This brings the literal subject matter of the photo-shoot and displays it on the actual object. I felt this set my idea in concrete, my photo-shoot all came from the inspiration of a song about boots.

I have learnt how difficult it is to take a natural picture of something that doesn’t normally occur, and could be potentially harmful to the models. If I was to do this shoot again, I would consider using a manikin, or otherwise a great deal of editing and using two photographs like Paul Smith has done in his work. The use of an actual physical boot to mount my work upon creates a bold platform for the viewer to experience.




-Helmut Newton, Private Property, Marshall Blonsky, Schirmer/Mosel Verlag Gmbh (June 30, 2004)


An artefact that explores the subject of under-represented groups within the media

Under-represented group Artifact:

by Jenny Stonely

by Jenny Stonely

I produced an Artifact on Military families, as I feel strongly about how military family life is disrupted. I know that we need a military, however I am not sure I agree fully with how it is run. Sure it may be fine for single men or women, who can maintain a relationship with their parents and friends back home. However if you have your own family it is completely different. The military personnel gets training, and are taught how to cope etc. But what about the families they leave behind, their children. Some children aren’t even old enough to understand where one of their parents disappears off to for months. I think that the families aren’t represented in the media. They are expected to get on with their daily lives, like nothing has happened. If a man or woman is away on tour, their family may not hear from them in weeks. This is no ordinary family life style. This is under represented in the media, and that there should be more support for the families still at home.

There are many photographs taken of their return. But what is life like when the spouse isn’t around. When life has to carry on without that significant other. If it be someone’s Dad, Mum, Wife or Husband. We aren’t shown images of this life, this is hidden from the public. What does the family become? How do they cope? Is there enough support for those left behind? Although it is mentioned occasionally in the media, I still think it is underrepresented.

Here is a quote from Sam Winston whose husband is serving in Afganistan, “But the strain these circumstances can put on a couple and the family unit is, I believe, an untold story. That is a side to army life that people do not see: how a conflict, especially one such as Afghanistan, affects all those indirectly involved: the wives, the parents and the children. The ones left behind.” (Sam Winston, The Guardian). This is one of the very few stories about the families in the media.

I thought about blocking out the military personnel in the images, as I wanted to illustrate their absence. It is hard to find images of when they aren’t there, as this is not covered much in the media; I also wanted to show how many photographs there are of the Military’s return, but not of when they are gone. Therefore I decided to use the imagery of their return, yet blocking them out; thus emphasizing my point of their absence. For this I used images I found on the Internet, my project became a cameraless task. I used John Stezaker’s collages for inspiration, as he also uses others imagery to create something of his own with.

When I visited the “Photographers gallery” I came across Geraldo De Barros, in an exhibit titled “What remains”. This lead me to his work “Fotoformas”, I see a link with how he physically manipulates his work, to my work and my physical manipulations.

If I didn’t have the time constraints I would do this project in a documentary style. I would ask permission of real families to photograph and cover their experiences. From the significant other actually leaving and the situation the families are left to cope with.

I wanted to use frames to create a photomontage, creating a similar feel to how the originals of these photographs may have been displayed in the family home. However instead of the original images, I displayed my manipulated imagery of the families without their significant other. A simple idea and physical difference to the image makes a bold statement about the absence illustrated.







Introduction to digital studio diagrams software and Lighting Theory Lecture

Lighting Lecture (Friday 23rd of April)

Dean Collins- Corporate work

Made it out to be scientific

We aren’t expected to be able to talk like Dean Collins

Light from below, light from behind, and light from the front right?


And record everything you do

Create lighting diagrams


Lighting Diagram creator

LightingDiagrams.com (Launch the Diagram creator)

After making the Diagram

We know nothing about the settings

Make note of settings on Photoshop

Pair the image and diagram together

Archive them (keep them in one place, a go to/look book)

My diagram using the software

My diagram using the software

Lighting diagram for Paul Smith’s photograph:

Screen Shot 2013-04-26 at 00.09.43

by Paul Smith (click to see link)

Paul smith Bingo image lighting lighting-diagram-1366711727

Pauls Lecture:

Inspiration: Nick Knight

Fashion Photography

Amazing lighting techniques

The video set ups mostly use one light

and a plain Back ground of white

The behind the scenes was extremely interesting to watch, as you don’t usually get this opportunity

2 Cor 4.6

And God said, let there be light: and there was light.

And God saw the light, that it was good: and God divided the light from the darkness.

The last judgment (painting)

Screen Shot 2013-04-26 at 00.06.10

The Last judgment painting, as spoken about above

Top of the painting light, like daylight

Bottom of painting dark

Philip-Lorca Dicorcia

Screen Shot 2013-04-26 at 00.06.22

by Philip Lorca Dicorcia (click to see link)

On the outside looking in

Quite dark with just highlights down the side of his face

Reddy orangey colour light

Red light:   red light district in certain part of certain cities, where they turn red lights on

Male prostitute

Paid the male prostitute the same he would for the bottom line experience

Titled them with the location and price

Colour temperature Chart

Screen Shot 2013-04-26 at 00.06.34

You can change the light by putting a colour gel over the flash

Can also use reflectors

If you reflect gold then it will make everything warm. If outside it will give the model a sun tan

Chrystel Lebas

Screen Shot 2013-04-26 at 00.06.42

by Chrystel Lebas (click to see link)

“Blue is obscurity becoming visible”

The shift from light to dark

Man/dog to Wolf

The witching hour

We shift from the good of the day to the dark of the night

Screen Shot 2013-04-26 at 00.06.50

By Chrystel Lebas (click to see link)


Panoramic Camera

Paul Smith

Screen Shot 2013-04-26 at 00.07.12

by Paul Smith ( click to see link)

Tungsten light bulb

To look like a real moment from a snap shot

The greeny yellow emphasis’s the feeling of sickness

Top left red/yellow light

Dark- linking to hell

Series Emersion

Bubbles in water

Screen Shot 2013-04-26 at 00.07.40

by Andres Serrano (click to see link)

“Piss Christ” 1987

Andreas Serrano

In his own Urine

The cheapening of religion

The commercialization of Christianity

Plastic icons

The colour helps emphasis the picture

Tim and Sue

Contemporary British Artists

Screen Shot 2013-04-26 at 00.08.32

by Tim and Sue (click to see link)

Screen Shot 2013-04-26 at 00.08.24

by Tim and Sue (click to see link)

The opposite of light is dark

What about the shadows

His Dad died

Ended up with all of his taxidermy

Found it creepy when the shadows were cast on the wall

Used this as inspiration


350 BC

A group of prisoners put in a cave and shackled to the walls

All they could see in the cave was shadows

Life is about looking at the shadows on the walls

Plato would assume that this was what life was like outside

Flat, without colour

Plato said that only if they saw the outside would they realise

Plato shadows were a metaphor for the incomplete

Limited to only experience our limited world of imperfections

The perception of the world would change

There are limitations to what we can achieve

Or use them to our benefit

Like Tim and Sue

Henry Peach Robinson-1858

Screen Shot 2013-04-26 at 00.08.39

by Henry Peach Robinson (click to see link)

“Fading Away”


Oscar Redgerlanger

Perfected the technique of piecing it together

Piecing the images back together using the dark room

The dark person in the background represents the unknown

Looking out into the unknown

Contemplating the Death of a love one

The character fading away is in the light (Heaven, Religious)

Can divide up the lighting



-Blended (mixing daylight and artificial)


Natural Light:

Tom Hunter:

Screen Shot 2013-04-26 at 00.08.56

by Tom Hunter (click to see link)

Natural Light


Standing infront of the window


Intimate moment: privileged access to this moment in someones life

Screen Shot 2013-04-26 at 00.09.05

by Johannes Vemeer (click to see link)

Inspired by Vermeer Paintings

Screen Shot 2013-04-26 at 00.09.11

by Erwin Olaf (click to see link)

Erwin Olaf

Looking out of the window

Has a suitcase, perhaps shes leaving

Light outside, dark inside

Shadowed, not in complete darkness


A series about moments of grief

The Darkness of death

Dark makes us think about the negative and evil

Rineke Dijkstra

Screen Shot 2013-04-26 at 00.09.18

by Rineke Dijkstra (click to see link)


Flash and daylight

The sky is dull, because it is miles away (only has a certain reach)

The figure is in tight focus but the background is blurred out

Just about the figures, focus on the details and the story

Gregory Crewdson

Screen Shot 2013-04-26 at 00.09.30

by Gregory Crewdson (click to see link)

Very clever very difficult set up

If you over light something you can end up with a very flat picture

Keep it simple at first

Skills will grow

Shot them in layers

Could change the lighting

Cut down modeling costs using the same models

Arms with lighting and colour gels

Start with a single frame and blank plate, actual light

Hiroshi Sugimoto

Screen Shot 2013-04-26 at 00.10.03

by Hiroshi Sugimoto (click to see link)


This Lighting lecture opened my eyes to how broadly lighting can be used. I think people take the lighting in images for granted most of the time, unaware of how big an effect it is having on the way they read the photograph. I intend to practice my lighting techniques, this will make my images stronger.

Introduction to the Studio

When you first step into the studio, you will have to switch on the power to use the studio lighting, this switch has an on and off and to use it you simply turn it.


When using lighting which isn’t hung from the studio ceiling, you will use a tripod stand, if you first loosen the legs at the bottom and set them up so that they are steady and the tighten them again. The portable lighting comes in a case, with 2 tripod, 2light, umbrella. And you will have to get hold of the power pack separately if required.


Yo can also adjust the height, though you must be carful not to over extend it.

Always remember to tighten the bolts, before use, and to make sure they are steady.


Attach the light to the top of the tripod stand and remember to tighten the bolt so that it is secure. Check that the light is the right way up.

Then you can release the bulb cover hood with the switch on the side ( as seen below) and twist the hood off.


Be careful of the bulb inside, especially when it is hot as it is very fragile.


On the side of the light are the bulb and flash controls. If you change the settings always remember to press the test button to release the flash, and reset to the settings you want.IMG_0279

On the back of the light will be the settings for the power pack or mains.


Once you have your light securely attached you can attach the umbrella, this can either be used to reflect the light back onto the model, or to use the light through just the white umbrella itself. This can be changed by taking the silver umbrella reflector off or keeping it on.


When you use the umbrella you can alter how far you open it up, the smaller the umbrella the more directed the light.


A soft box is another studio light, for this the light is shone though it. Below is how to assemble one.

First of all you must attach the box to the back using the rods from the box.


Once you have placed all the rods into the back, you must tighten fastenings.


You will then have the basics of the soft box.


It is sometimes easier to attach the soft box to the light at this point as yo have easier access. Place over the bulb carefully and twist to secure.


After you have secure your light you can then place the backing of the box, this completes the box shape. This piece of material fits around the light and back of box, as seen below.


Then (if required) place the first (slightly smaller) square sheet of white using the velcro fastenings, inside the soft box. Be careful not to damage the white squares by putting them on the floor, always take care of the equipment.IMG_0315IMG_0316IMG_0317IMG_0318

Then using the velcro on the rim of the box attach the outer white sqaure.IMG_0323IMG_0321

When taking this down simply take the white squares off.


And remove the back of the soft box material.


You will then have easy access to the switch on the side of the light (pull back on the switch) and twist the disc of the soft box off the light ( careful of the bulb).


Loosen the fastenings on the disk, and push down on the disk whilst pulling at the first rod (this might take sometime, as it is tricky to remove the first rod). After the first rod has been removed remove the rest and fold the soft box up.



The polystyrene boards in the studio can be used to reflect and absorb light.

Below are the fixings for the lights:

You can use a lamp fixing, which has a wider head, which means the light is less direct.

A snoot can be be used to direct the spot light

Below is a picture of a Beauty Dish:

-more direct

-image with rings in the eyes, very flattering


-have to be very precise

Soft box is more like day light, and gives you freedom to move in


Below are a few pictures of Honeycombs:

-This creates a sharp and narrow directed light

-Lighting on men tends to be harder

-Need to attach to another head to attach to lighting

-The tighter the holes the more direct the light


The image below is of a tripod, this is for low angled lighting:

Sometimes used for portraits with normal light and a backdrop with a gradient.



-gold and silver

-you can bend them for effect

IMG_0344 IMG_0345


Radio Trigger for Flash:

To use the radio triggers, you will need to provide your own batteries.

You will need to set one trigger to “Receive” and One trigger to “Transmit”

Pick a channel 1,2,3, or 4  Both “Receiver” and “Transmitter” need to be set to the same

Pick a Studio A-F, again match them so that they are in sync

Place one on top of the camera (Receive), and one on the light (Transmit)

There is elastic which comes with the kit, use it to secure it to the light, so that it doesn’t fall off and get damaged.


IMG_0346 IMG_0355 IMG_0354 IMG_0353 IMG_0352 IMG_0351 IMG_0349 IMG_0348 IMG_0347

The light meter:

Here is a video sourced from : http://www.youtube.com/watch?v=3WLjPig-btU&feature=player_embedded

When using the flash in the studio, put the light meter onto the flash setting.

125 shutter or under is best otherwise the flash won’t sync with the camera.

To use: Press the button on the light meter, and a flashing symbol will appear on the light meter, FLASH the light, and then it will take the reading.

The introduction to the studio was brilliant, I learnt so much about the studio that I didn’t know before and am now much more confident. I cant wait to get hold of some of the lights and see what effects I can achieve with it.

Task 1:


“To demonstrate you have achieved the learning outcome for developing your research skills and illustrating you understand how to control different lighting techniques, for task 1, using the skills you have already learned on level 1, you will need to design and produce an instruction manual, to include the information you will be learning on this module.

The manual should be an on going task, which charts all the technical tests and data (including how to make a pinhole camera) learnt in the workshops during this module.

You can interpret this task in the broadest sense, consider what you like about instruction manuals and think about what you dislike about instruction manuals. Words/pictures/diagrams ????

Design the information in an accessible way. Imagine you could present this manual to yourself at the beginning of the module, what would you need to know and how easily could you communicate this?

To support you with this task you will be introduced to digital diagram lighting software, which you may or may not choose to use. As you will be working in small groups for the workshops, you can pool any collaborative material but the design/layout and formatting for your manual needs to your own work.

To elaborate on the research around your manual and to contribute to the collective class knowledge you will need to add to the moodle online forum good/bad instruction manuals. You will need to post links to or examples of at least 2 instruction manuals you find unhelpful and 2 instruction manuals you have found supportive to learning (this can be interpreted in the broadest sense) and write a sentence to each posting explaining why you think it is a good or bad example of an instruction manual.

Your finished artifact and a digital copy (on disk) will need to be submitted as part of your final submission for 152MC on May 21 at 4pm, along with a coversheet (NB coversheets can be downloaded from the 152MC moodle homepage) together with your archived blog.

If you fail to hand in this task as part of your assessment, your grade will be affected. If your work is deemed of a low standard you will have an opportunity to resubmit your work. In which case CM will discuss this with you directly, NB submissions are capped at 40%. If you are unable to meet the deadline you can apply for an extension via the administration department. CU you has a strict policy on hand in dates, extensions are only given in extenuating circumstances and will need to be supported by 3rd party evidence.
Please see Clare Jeffs in reception if you need to apply for an extension.”

Forum Good and Bad Instruction Manuals:

What makes an instruction manual good or bad? I personally don’t believe that there are just “good” and just “bad” instruction manuals. I think that all instruction manuals have good and bad points about them.
The attachment file shows you a pdf of an IKEA instruction manual. For some people this is great as it use exploded diagrams of assembly, this means that the diagram isn’t over crowded and can be easily understood. The use of only imagery means that it can be used World Wide, however I personally think the use of both imagery and text is best as then you gain a visual and written understanding.
However text for instruction manuals can cause problems as you can see in the image below. The safety instructions have been poorly translated meaning that they are hard to understand. The instructions should have been checked before print. another bad point about these instructions is that they are only written; the use of imagery or symbols might have meant they would be easier to understand.

The lack of quality control and checking can also cause a problem for other instructional uses, for example this road sign in wales. This could be easily avoided by checking before print.

I believe that Apple instructions are successful as they use both imagery, diagrams and written instruction. This means that the viewer can understand both visually and by reading; if they don’t understand one they always have the other to use.

Here is another example of instructions that I like to use, video instructions are great as you can listen and watch at the same time. Below is a link to how to make a pin hole camera, this was easy to understand as it felt like I was there in the room with him, it felt like he was teaching me. I could watch him physically make the pin hole whilst he explained what he was doing. I personally like this approach to instructions. However his speech limits the video to only English speaking viewer, this is a limitation of videos, this can be solved by a translated voice over or sub titles if required.
There are many different instruction manual techniques, however I think that it is important to have both visual and written/spoken dialog, as this makes the instructions the easiest to follow.
My Manual:

For my manual I wish to produce a video, which will include audio and images, including the lighting software diagrams. I think that this will be helpful to people as they can listen to the audio and see the images and diagrams at the same time. This will allow them to absorb visually, as well as to be informed verbally.

I will produce diagrams of all the lighting setups that I practice in the workshops and in my own time, I will also take photographs of the setups when I can. This can be shown on my video; I want to show the final image and how I produced the lighting using the diagrams. This will mean that others can easily follow and recreate similar lighting themselves.

I shall aim for my video to be around 10 minutes long, this means that the viewer will not be put off by the length of the video. If I was a first year looking at my video manual I wouldn’t want to be overloaded with information. I will be clear with my information, and the light diagrams and examples will speak for themselves. I plan to have a musical interlude whilst I show my images and lighting diagrams for them. Whilst I am describing how to do something I will just have the audio and then images to visually explain what I am talking about.

Final Video:

<p><a href=”http://vimeo.com/66342308″>Task 1 Manual, Jennifer Stonely, 152MC</a> from <a href=”http://vimeo.com/user14118719″>Jenny Stonely</a> on <a href=”http://vimeo.com”>Vimeo</a&gt;.</p>

Final Booklet:

manual version 40


Creating a manual on lighting and pinhole photography was helpful as I could write my notes up and create a video and a booklet. This resource that I have made will help me in the future whenever I am pre-visualising my lighting for an image.

For my manual I produced a video, which included audio and images, including the lighting software diagrams. I think that this is helpful to people as they can listen to the audio and see the images and diagrams at the same time. This will allow them to absorb visually, as well as to be informed verbally.

I produced diagrams of all the lighting setups that I practiced in the workshops and in my own time, I also took photographs of the setups when I could. In my Manual and on the video I show the final image and how I produced the lighting using the diagrams. This means that others can easily follow and recreate similar lighting themselves, if they read my manual. I decided against a musical interlude in my video whilst my examples were shown, as I felt that I could show them quickly with a voice over. The viewer will find the booklet that goes with it a good source to properly look and recreate lighting setups from, as they can stay on the page and study what I have done, for as long as they like. The video is clear and concise at 10 minutes long, this means that the viewer will not be put off by the length of the video. If I was a first year looking at my video manual I wouldn’t want to be overloaded with information.

If I was to improve on this project at a later date I would professionally print and bind my manual. However I feel for this task and the time limit I had, that the printing and binding was sufficient. I think that my manual will be a good source of information for me and others in the future.