The ONLY reason we light is for humans and for no other reason. James Graham 2017
Speaking in the context to the lighting fraternity, take a minute and think about it!
I spent the year of 2017 spruiking this, with some quite interesting conversations pitting quality of lighting against the overall cost. Ultimately, at what cost?

Taking this concept and applying it into the application can change the outcome! 
Particularly for the sales team that is fixed on driving their product into the market.
The market is a constant change, BUT, basic philosophy of design and designed outcome should not.
 


 
 
Lux Plot Design - asked the Australian Building Codes Board, to make changes to the BCA J6.2 to reflect the standard shown in AS 1680.2.1-2008

They answered and are now rectifying the anomaly.

We thank you Australian Building Codes Board for listening!

 
 
This render below depicts what some down light photometric distributions can look like.
 
 
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A report comparison is supplied starting with only road lighting and finishing
with the Proposed Signage at % of output

*Google Earth scales the location

*An outcome in DWG OR pdf format is supplied


 
 
 
 
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Avoid Costly Pitfalls

As this can have major impact on the worst case scenario...

We Ask - Why are we hearing,"there are too many emergency lights"  (OR) "No we don't need to put emergency lighting in our car park because the building doesn't need them.

It's not the BCA that's driving requirements! 
It's AS2293.1-2010 - Emergency escape lighting and exit.

Once again, when its good it's Good! and When it's bad it's BAD!

 
 
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As the Visualist for The Australian Ballet's production of Wild Swans - 12 years on, it still holds it's own.

It was given its premiere by the Australian Ballet at the Sydney Opera House on 29 April 2003

Visualist - Someone who has tendencies towards visual beauty and creates such things that rely on light for expression.

 


Click Image and go 8:00 in to video

Programmed and sequenced projectors were manually cued through score reading at marked points. (Keep in mind this was always reproduced under live conditions with 2000 Audience and a Full Orchestra!)

4 x Computers -
25 x 35mm Slide projectors - 2 x Video projectors

 
 
 
 
 
 
I would like to share a small story with those that may be starting out in the Lighting Industry. 

I ran the lighting department of the Melbourne Concert Hall (Hamer Hall; enunciated Hay-mer Hall) for some 5 years.
For anyone that has had the pleasure of having their own venue of such calibre, you will know where I come from with the following. 

The process of lighting the very wide performance spectrum on a concert hall platform uses all the tricks in the book and then some…

When one is handed the reins, the artistic creation is running at full speed, BUT,
it’s a trap for young players!
What happens, (regardless of your experiences) by the end of the performance you have created Pizza with all the toppings.

On average it will take a good lighting designer to grasp the full potential of lighting rig with accurate luminaire – type/position/angle/colour/blending and general creative mastery, 3 Months of 10/12hrs a day 6 days a week. 

Now why am I saying this?

Well, I always knew with the invention of a colour changing commercial fixture was going to
set some change on a city’s night profile, as one would.

It’s just a larger performance platform and yes a large PIZZA.
I could anticipate an uncensored governance of the use of coloured lighting upon city structures will take some 15+ years to settle.

Look at the city where you live!
Or the local shopping precinct.

James Graham