Monday, February 13, 2012

Assignment Guidelines


Assignment Submission Guidelines

Please submit all Assignments (not in-class projects) in a folder
with your name on it that contains the following:

1.    Final retouched 8”x10” (minimum) prints
2.    Detailed lighting diagram with explanation on how the image was lit and what the camera, lens, and exposure settings were
3.    Any applicable forms, including copies of model releases, location releases, equipment lists, permits, call sheets, etc.
4.    A self-critique write-up where you explain how well you think you executed the assignment and what you would do to improve it
5.    Select outtakes from the shoot - narrow your shot images down to about a dozen or two dozen raw and unretouched edited selects from the shoot and print out “contact sheets” of them



Assignment Grading Criteria

You are always welcome to submit more than what is required of the assignment.  And treat your instructor as you would a client - submit what I have asked for, but you can also choose to submit a version that appeals more to your sensibilities.  

That way, you’ve completed the assignment, but you’ve gone above and beyond and have submitted an option that inspires you more, but may not necessarily meet the requirements.  Challenge yourself and convince me with your visual masterpiece that your idea was better - you may be handsomely rewarded!

And remember, you may resubmit any assignment before the end of the semester for a better grade.  If submitted late however, it will still be demoted one letter grade.

·      Evidence of preparation and adherence to assignment requirements
·       Location contacts completed on time
·       Presentation of final prints (and required amount of prints)
·       Lighting diagram
·       Pre-production materials (permits, releases, etc.)
·       Self-critique
·       Outtakes contact sheets
·      Technical skills
·       Lens choice, depth of field and shutter decisions, exposure, lighting effectiveness, image quality, presentation
·      Aesthetic quality
·       Concept, composition, subject choice, visual impact, emotional content, etc.
  • Ability to meet deadline

P2: On/Off-Camera Flash

 Project 2: On/Off-Camera Flash

Assigned:  Week #3 2/13/12
Due: Week #5 3/5/12

***To be completed in class on Week #6 3/12/12***

Details:  Break into teams of 2.  Each team shoots digitally (RAW with Manual or Daylight WB) and produces at least 4 5"x7" @ 72dpi minimum JPEG files to be submitted before the start of next week's class.  Prints are not necessary.  Start shooting in-class, but you have the option of shooting outside of class time if you wish.


Briefly, your decisions for On/Off-Camera Flash are:

• Where am I going to put the light - and why?
• How am I going to get it to stay there?
• How am I going to trigger it?
• What will the quality of the light be: Hard or soft?
• What will the beam spread of the light be - wide, narrow?
• How will I balance the strobe's intensity with the ambient light?
• How will I balance the strobe's color with the ambient light?           

But light is a tool. You have to know how to use it and how to make it when you need to. So do not fall for the "putting-yourself-on-the-available-light-pedestal" excuse. You can always choose to use available light when you know how to use flash.

Heck, it is always available.

For this project, produce an interesting photograph of your fellow student.

Think outside the box.  Use focal lengths, cropping, composition, and lighting, to push the envelope of what could be a boring snapshot of a student on campus!

Your only requirement is to find an interesting backdrop on campus that adds to the portrait.  Study the available light and begin by creating a shot with only ambient light.  Ask yourself questions - do you want the ambient to read even (match on camera light meter’s suggestion)?  Or do you want to purposely darken or lighten the environment for mood and emphasis? 
Once you have created the ambient image, continue with the project exercise of exploring on-camera flash, off-camera flash, and finally bounce flash to see how you can further enhance the image with additional lighting.  Use TTL with EV+/- or Manual exposure mode to control how the light interacts with the ambient exposure.  Keep in mind that strobe light dissipates quickly over distance, so you are mainly controlling the ratios on your foreground portrait subject!  Choose to overpower the ambient, or maybe just kiss the ambient light on your model. 

You are to turn in 4 5”x7” JPEG files of the same exact subject including:
1.     Ambient lighting only exposure
2.     On-camera flash (with NO accessories!)
3.     Off-camera flash (use pocket wizards or sync cords and choose direct or modified/diffused)
4.     Bounce flash (use a wall or bounce card/flex-fill)

Equipment and Location Kit Lists





Week #3: 2/13/12

"I realize more and more what it takes to be a really good photographer. You go in over your head, not just up to your neck." - Dorothea Lange

"In photography there are no shadows that cannot be illuminated." - August Sander

© Jamey Stillings

© John Keatley

© Mark McCarty
© Joe Toreno


Here is what we'll be doing in class today:
  • Location Kit and Equipment Lists
  • Speedlights and Triggering a Flash
  • P2 On/Off-Camera Flash
  • Critique P1 and A1 Location Scouting Contacts
  • A2 Guidelines

Location Kits and Equipment Lists
(See blog post and Angel for list examples)


© lighting-essentials.com


© prophotolife.com

Triggering The Light:
  • Electronic:  Hot Shoe or Sync Cord
  • Optical:  Optical Slave such as a peanut/bubble slave/etc.
  • Infrared:  Infrared pulse or pre-flashes
  • Radio:  Transmitter sending a radio signal to a Receiver

Basic Speedlight Settings (See post on Speedlight Manuals and Links):
  • Modes: TTL (Automatic with EV +/-), Repeat or Multi, Manual
  • Zoom:  Control how wide or narrow your output is
  • High Speed Sync / Shutter Curtain Sync
  • Pan, Tilt, Bounce, Wide Angle Diffusion Screen
  • Master and Slave Controls 

Monday, February 6, 2012

Week #2: 2/6/12

"Available light means any light that is available!" - Arnold Newman

© Eric Ogden



P2: Timed Portrait - In-Class Shooting Project


P1: Timed Portrait

"Available light means any light that is available!" - Arnold Newman

Project 1:  Timed Portrait 

assigned: 2/6/12
due: 2/13/12


Since a lot of location work is done on deadline (sometimes for magazines or similar clients) there is an excitement in showing up at a place and having to quickly figure out a way to turn an unfamiliar background into a pleasing backdrop for a portrait.

Today you will have an in-class shooting project that involves being assigned a professional who works in close proximity to campus.  You are to quickly pair up, gather your necessary gear, briefly research your assigned individual...if possible, and head out to take a nicely composed photograph of them in their work environment.  Finally, this assignment is under a deadline - you must be back on campus by 2:15pm latest, so accommodate for this to make the client/me happy.  ;)


Guidelines:
  • Shoot digitally - RAW file format
  • DEADLINE: Must be back on campus by 2:15pm latest!
  • Produce 2 final edited (Photoshop/Lightroom manipulation if you would like) images at least 8"x10" @ 300dpi
  • (1st image) Photograph a very quick, wide-angle photograph of the location upon arrival (or multiple photographs)
  • (2nd image) Photograph the person(s) in their working environment
  • Produce prints that are at least 8"x10" to be presented in class next week
  • Send a thank you and a finished print to your model!

Tips to being successful:
  • BE CREATIVE!
  • Take more than you may need (speedlights, cords, stands, tripod, flexfill, etc.)
  • Use props if it is appropriate and interesting
  • Consider a unique angle (high/low camera angle, use reflections, shoot through windows, etc.)
  • Scout the location for 5 to 10 minutes first.  Shoot some images without the model and without lighting in order to narrow down some interesting angles and compositions.  Then set up the lighting and test it on your teammate before calling the model over an taking their photograph.
  • Photograph the background over and underexposed to see if it makes it more interesting.  Then adjust your foreground model lighting accordingly.
  • Time permitting, try to shoot at least 2 different variations.  Choose to be graded on either variation.  (Each individual can be graded on their own shot, or you can be graded as a team based on one shot).
  • Call me at 917-379-9735 should you have any major problems