AIO-PHOA232 | Portraiture€¦ · Web viewLocation Scouting. Summary. Tutorial: “Portrait...

COURSE CODE: AIO-PHOA232 Portraiture Milestone 3

Milestone 3: Administrative Employee Portrait

Learning Path

Milestone 3 Overview

Milestone 3 Learning Activities

¾ Length

Other ¾ Length Considerations

Posing ¾ Length

Location Scouting

Summary

Tutorial: “Portrait Photography: Business Portraits” by Robert Vanelli

Textbook: Computer Basics

Textbook: Location and Environment Photography

Milestone 3 Task 1: Instructions

Milestone 3 Task 1: Post Here

Due <Week 3, Day 3>

Milestone 3 Submission: Instructions

Milestone 3 Submission: Post Here

Due <Week 3, Day 7>

AIO-PHOA232 | Portraiture 1

NIIT, 12/11/17,

Textbook Title: “The Portrait Photography Course: Principles, Practice, and Techniques: The Essential Guide for Photographers”Author: Mark Jenkinson


Milestone 3 Overview

Milestone 3: Administrative Employee Portrait

Now that you have photographed the headshot portrait and focused on bringing the human expression to life, concentrate on a ¾ length portrait on location. This length of portrait can be shot either vertically or horizontally. The ¾ length portrait sets your subject to scale with his or her surroundings. These surroundings, and your treatment of them as the photographer and artist, provide yet another layer to the story of your subject.

What You Will Learn

When you successfully complete this milestone, you will be able to:

Focus on photographing ¾ length shots and location scouting.

You will complete…

Learning Activities

¾ Length Other ¾ Length Considerations Posing ¾ Length Location Scouting Summary Tutorial: “Portrait Photography: Business Portraits” by Robert Vanelli

Required Readings

From your course textbook, The Portrait Photography Course: Principles, Practice, and Techniques: The Essential Guide for Student Photographers, read the following chapters:

Computer Basics Location and Environment Photography

Task 1: Environment: Administrative Employee

Create a portrait of an “administrative assistant” who works at Bowenhouse College in an environmental setting using two strobe lights. Your two lights will either be a key and a fill


Sauer, Damon A., 06/21/18,

It would be best to confine the scenario to the scenario communication so students don’t get confused.Removed. MF on 6.21.18

NIIT, 05/31/16,

Note for DCEH: We will insert milestone overview video here.


light or a key and a hair light. Photograph your subject under soft light with a 1:2 or 1:4 light ratio and focus on capturing three different focal lengths: ½ length portraits, ¾ length portraits, and full-length portraits for this task.

Contact Sheet Proof Sheet of 3 Top Images Signed Model Release

REQUIRED 120m

Milestone 3 Submission

Revise the previously submitted artifacts in Milestone 3 Task 1. Also, submit a 300-word Milestone Report discussing your planning strategies for Milestone 3 Task 1 and the challenges faced. Discuss your approach to lighting, composition, light ratio, and use of props and/or wardrobe. Additionally, discuss your plans for the next photo shoot (Milestone 4 Task 1); comment on where your shoot will take place, what the lighting requirements are, what props and wardrobe you will choose, and who will be the model. Along with this initial plan, be prepared to have a “Plan B” and a “Plan C” and also refer back to your Project Template.

Revised Contact Sheet Revised Proof Sheet of 3 Top Images Signed Model Release Milestone Report

REQUIRED 120m


Melanie Fiander, 05/29/18,

Added in Proof Sheet


Added in Proof Sheet


Milestone 3 Learning Activities

Review each learning activity by selecting the Next button. It is recommended that you review the activities in order, beginning from Learning Activity 1, before completing your tasks.

Required Activities

1. ¾ Length

Understand that a standing ¾ length portrait typically extends from just above the subject's head to just above the knees and includes both arms and hands.

READING 10m

Image/Icon related to the topic.

2. Other ¾ Length Considerations

Know that when preparing for a ¾ length shot, a photographer should consider a subject’s wardrobe and styling and whether or not the shoot will occur on location or in the studio.

READING 10m


3. Posing ¾ Length

Learn about the variety of ways to pose a model for a ¾ length portrait.

READING 10m


4. Location Scouting

Understand that as a photographer, it’s a good idea to look at the location that you want to take pictures at before your subject arrives. This is known as “location scouting.”

READING 5m




All LA’s have Media; details are in the Media Plan Excel File.


5. Summary

Look back at how the ¾ length portrait allows you, the photographer, to include a bigger range of elements to tell the story.

READING 5m


6. Tutorial: “Portrait Photography: Business Portraits” by Robert Vanelli

Review the tutorial by Robert Vanelli to learn more about portrait photography.

VIDEO 120m


Required Readings

From your course textbook, The Portrait Photography Course: Principles, Practice, and Techniques: The Essential Guide for Student Photographers, read the following chapters:

Computer Basics Location and Environment Photography



¾ Length

Why and How the 3/4 Length?

A standing ¾ length portrait typically extends from just above the subject's head to just above the knees and includes both arms and hands. It is not cropped at, or below, the knee. As a rule of thumb, you should never crop at the subject's joints.

This portrait length allows for much more animation through body positioning and hands and arm expression; even how the feet are positioned can be read at this crop. The identity of your subject is greatly revealed by wardrobe and location, and it is your responsibility to use the suitable wardrobe and location to create the best portrait. You want to shoot a ¾ length portrait to add the wardrobe as part of your story, such as the bride in her gown or a cover shoot with an athlete in uniform. The addition of wardrobe is the quickest way to give the viewer knowledge of who this person might be.

Sitting or Standing

In the standing posture, have your subject stand with feet comfortably apart, about shoulder-width, and one foot just slightly in front of the other. As the subject shifts his or her weight to the back foot, notice how this looks more casual, relaxed, and normal. This more relaxed stance doesn't always come naturally, so expect to direct some of this.

Now, for difference, ask the subject to shift the weight from the back leg to the front. Observe how the body's posture will naturally shift from the waist up. This is a good stance to convey the idea that your subject is energetic. Clothing looks most natural and flattering on the standing body; so if you decide to have your subject sit, take special care and attention to the wardrobe.

The sitting ¾ portrait follows the same rules of cropping, above the knees. A person sitting should not be seated so far back in the chair that the feet do not touch. It may be more flattering to bring the subject closer to the edge of the seat and have him or her sit up and lean slightly over a crossed leg. If you are to have the subject cross the legs, it should be done either at the ankles or at the knees. The top leg should be crossed completely over the top for both males and females. Consider where the back and arms of the seat or chair are within the composition. Ensure that the back of the chair is not jutting out of your subject as this can sometimes be distracting. Be prepared to ask your subject to sit differently in a chair than they may normal do; try different poses.

Arms and Hands



Perhaps a note about avoiding seat backs that are visible when the subject is seated, though can be acceptable in an environmental portrait.Agreed; added on 6.21.18 - MF


When being photographed for a ¾ length portrait, the subject will often worry about the placement of arms and hands. Directing your subject—key to a successful portrait photographer—as to how to position the arms and hands will alleviate this worry resulting with a comfortable and natural-looking subject.

It is best to explore different options for positions of arms and hands. Only so many photos can be done with hands in pockets before they all look the same. When hands are in pockets, you should still see some of the finger. Don't allow the subject to put his or her hands in up to the wrist. Thumb in or thumb out, there is no rule. Explore it all. Crossed arms can work nicely, but don't let the subject bury his or her hands completely since this pose can look either defensive or aggressive. Most subjects want to appear approachable, and you should direct toward this end goal.

You will want to help the men look more masculine and the women, more feminine. With women, the rule in general is to elongate everything from the neckline to the tip of the toes, including arms and hands. Pay special attention so that the fingers of the hands do not point toward the camera. This will give the appearance of shorter limbs and hands. The camera should see the pinky finger side of the hand as this is most flattering. A slight bend of the wrist and relaxed fingers complete the hand pose. Be sure that the fingers are not spread too widely; this can appear claw-like and is distracting. While making men more masculine, think of it as keeping them looking masculine. Specific to hands and arms: When the hands are in pockets, the elbows should be bent and slightly away from the body. Hands on hips might work well for athletes, and folded arms imply rigidity and sturdiness.

Other ¾ Length Considerations

Wardrobe and Styling

A professional make-up and hair stylist is always highly recommended. Preferably, this would be a make-up artist who knows how to apply cosmetics naturally and for the camera. Look around for a great make-up artist. Many times, that person will also style hair. Finding a stylist who is skilled in both will make scheduling easier and more convenient. If a make-up artist is not available, you can recommend that the client start out with just foundation and a light eye and lip treatment. More or deeper colors can always be added. You may find it useful to look at fashion shots for pointers for wardrobe and styling. Additionally, the ¾ length portrait reveals



more of the wardrobe and, therefore, requires more attention to its details as well.

Pay attention to men's coats, as they will ride up behind the neck when they are seated. A man wearing a long-sleeved coat or jacket should have a long-sleeved shirt underneath and a bit of the shirt cuff should be visible. Coats can be either buttoned, or not. The value of a well-made suit can only be understood by the attempt of making a great portrait of an executive in an ill-fitting one. It's worth every penny.

In the past, some of the general rules have been no whites, bright colors, vertical stripes, or strong patterns. With a white shirt, details may be difficult to capture or it may make the subject look washed out. Bright colors may affect the overall white balance of the image; vertical stripes may make someone look heavier than normal, strong patterns may pull the viewer’s eye away from the actual subject. Wearing black was discouraged, and some photographers discouraged wearing glasses to avoid reflection and glare in the lenses.

Although, there are times when these rules will not work for a particular subject. For instance, a doctor in a white lab coat is a natural wardrobe. Asking a subject to remove his or her glasses because of difficulty with reflections can cause communication problems or may make the subject feel uncomfortable. It is important, regardless, to discuss the client's wardrobe and how it will relate to the setting, person, and use of the photo. Ask the subject to bring extra options and variations to work with. There are professionals to help in this area, but most photographers rely on their own experience. Ultimately, you want the subject to feel relaxed and comfortable, so it is important that the client actually feels comfortable with the clothing choices. Remember, the clothing choices and the overall styling of the subject have a great effect on the final result.

Location vs. Studio

The greatest difference between shooting on location and shooting in the studio is control of the elements. You cannot stop the sun from moving across the sky; and if you are photographing on location, you will have limited time to complete your work with consistent lighting. Many elaborate sets have been made both indoors and outdoors. Remember that shooting on location comes with a lot of variables. The biggest, of course, is the sun; it's always moving. Other variables may not be so obvious, such as automated, timed sprinkler systems; pedestrian and automobile traffic; or access to a specific location. Every place will have its own unique circumstances. You need to be aware of all of them.

When Place Establishes Context

It seems obvious that a place establishes context, but that is not always the case if key elements are not included. Of course, the overall location reflects some part of the subject, but how well you place them into the setting can determine the power or understanding of the statement you



If these are no longer general rules, it should be explained why not… otherwise, this phrase should be removed.Explanation included. MF on 6.21.18


make. The problem is with perception.

As a photographer walking up to the baseball field to photograph the star player, you see 180 degrees of the stadium. You see the sky and smell the grass below. You can hear the distant echoing voices. You are influenced from your sense of smell, hear, touch, and sight. You want to look for a way to help the viewer have the same experience you have in person. Be sure to include key elements of the place. You light, frame your subject, set your lens at f/5.6, and shoot a ¾ length close crop. You love what you see in the view finder, but shooting this close and setting the background out of focus might also reduce the background so much that it no longer gives context to where the photo was taken or how it relates to your subject. Don't crop so close to your subject that all the important parts of the location are removed.

Posing ¾ Length

Location Scouting

Summary

The ¾ length portrait allows you, the photographer, to include a bigger range of elements to tell


NIIT, 04/23/18,

PULL SLIDE FROM CURRENT PH222: Portraiture I – The same text & media will be used for this section in the new PHOA232: Portraiture I.Static Media w/ Text: AI_PH222_W3_L4_S1_G1

NIIT, 04/23/18,

NEW SLIDE PULLED FROM CURRENT PH222: Portraiture I’s Week 3 Summary Page – The same media will be used for this section in the new PHOA232: Portraiture I.goo.gl/FX4rvq


the story. The subject's wardrobe, posture with arms and legs, and surrounding environment all work together to create this story. This length also means there are a lot more details you are responsible for. If you see more wardrobe and more surroundings, then you give more attention to those elements. You have to keep a good relationship with the client while you are paying attention to these elements. The best way to accomplish this is to plan well ahead of time and to communicate!

Tutorial: “Portrait Photography: Business Portraits” by Robert Vanelli

Textbook: Computer Basics

Textbook: Location and Environment Photography


NIIT, 05/10/18,

https://www.lynda.com/Lightroom-tutorials/Shooting-Effective-Business-Portraits/418834-2.html?srchtrk=index%3A4%0Alinktypeid%3A2%0Aq%3Aportrait+photography%0Apage%3A1%0As%3Arelevance%0Asa%3Atrue%0Aproducttypeid%3A2


Milestone 3 Task 1: Instructions

Task 1: Environment: Administrative Employee

Hello Photographer,

We enjoyed looking at the photographs that you submitted of the faculty member and student. We would now like you to photograph one of the administrative employees at our school in an environmental setting that resembles an office. With our Marketing Department having strict requirements for lighting, please take these photos under soft strobe lights. We would like to see either a key and fill light or a key and hair light.

Remember to have the administrative employee sign a model release. We look forward to reviewing your photographs!

The Marketing Department, Bowenhouse College

Overview

For this task, photograph a model posing as an administrative employee who works at Bowenhouse College. You should be photographing your model dressed as an administrative employee in an environmental setting that resembles a large office space. Be prepared to scout out two or three different office spaces before selecting one. Your selection of props and wardrobe will also be key in order to convey the context associated with the task. In other words, you want your viewer to understand that the person in the photo is an administrative employee. Ensure that your subject signs your model release.

Submission Specifications

A combined PDF named PHOA232_LastnameFirstInitial_M3T1_Combined.PDF containing the following:

o Contact Sheet that includes: 36 photos:

12 showing ½ length shots, 12 ¾ length shots, and 12 full-length shots

1 wide-angle image showing two strobe lights from the environmental setting

1 image of handheld light meter reading the overall exposure for incident



Combined files


remove to avoid confusionCompleted; MF on 6.21.18


light 2 images of the handheld light meter reading exposures for 1:2 or 1:4 light

ratio for the studio setting 1 image showing the highlight reading and the other showing the shadow

reading

o Proof Sheet of 3 Top Images: Select your top 3 images – one from each of the lengths listed above - and place your files into a proof sheet created according to course standards.

Your proof sheet should have 1 image per page. Include your file number, date, and metadata in the caption.

o Signed Model Release: An Adobe PDF file named PHOA232_LastnameFirstInitial_M3T1_SignedModelRelease.pdf containing the signed model release.

Steps for Success

Administrative Employee in the Environmental Setting

1. Scout two or three environmental spaces that resemble large office spaces. Consider the following for these spaces when you go to view them:

Does the space have natural light? Where are the electrical outlets? Is the space well kept? Is it clean and tidy? Double-check the hours of operation of

the space. How long does it take to drive to/from the space? Is the parking space available? Is permission required to shoot at the space?

2. Choose a new model to photograph. Based on your environmental space selection, choose your props and wardrobe to ensure that your subject has the “look” of an administrative employee.

3. Clear any distracting elements out of the shot: items on a desk, frames on a wall, etc.

4. Position your model 5 to 6 feet in front of the environmental backdrop. If you’re working in a room with a large desk, chairs, and cabinets, you may want to

have your model stand 5 to 6 feet in front of a desk.

5. Set up two strobe lights with lighting accessories that create soft lighting and that create either a 1:1 or 1:4 light ratio. One strobe will be your key light and the other strobe will



I made this change, but is this true?Yes; that’s perfect. Thank you! MF on 6.21.18


either be your fill or hair light.

Tips: When working with strobe lighting, ensure that your ISO is set to 100 or 200, your white balance is adjusted manually using your gray card, and that your shutter speed does not go faster than 1/200th of a second to avoid issues with sync speed.

6. To meter for the different light ratios, set your handheld light meter to meter incident light. You should start by metering the highlights on your subject’s face. From there, meter the shadows on your subject’s face. Determine what the stop difference is between your highlight and shadow readings. Consider either changing the brightness of your strobe or positioning of your flag or reflector to adjust the light ratio.

Tip: Refer back to the video tutorial in Milestone 1 regarding how to meter for light ratios.

7. Take two photos of your handheld light meter metering for both the highlights and the shadows for the studio setting.

These images should be in sharp focus and properly exposed, and the information on the screen of your meter should be legible. These images should be included in your contact sheet.

8. Once you have your strobe lights set up to create either a 1:1 or a 1:4 light ratio, also take an overall light reading. Position your handheld light meter just below your subject’s chin and meter the incident light. Take a photo of your handheld light meter in use and include it in your contact sheet.

9. Take a test shot and review the image. Do you notice any reflections coming from the strobe lights either off of a window, a glossy surface, or your subject’s glasses? If so, reposition your strobes and angle of the camera slightly.

[10.] Take 12 x ½ length portraits of your subject in the environmental setting; the suggested focal length for ½ length shots is 100–120 mm.

[11.] Take 12x ¾ length portraits of your subject in the environmental setting; the suggested focal length for ¾ length shots is 35–50 mm.

[12.] Take 12x full-length portraits of your subject in the environmental setting; the suggested focal length for full-length shots is 24–35 mm.

10.[13.] While shooting these photos, take your photos from three different angles. Photograph your model from straight on, from the left or right, and from a slightly higher angle. (You should be prepared to stand on a little stepping stool.)

11.[14.] You are encouraged to bracket your shots to help ensure a wide range of exposure



This is a good idea to ensure variety, but I think students already have a lot to keep track of in terms of objectives, so I would suggest removing this or including a more vague statement like “ be sure to capture a variety of camera positions and poses” (or something similar).This applies to all future task descriptions as wellAdjusted – MF on 6.21.18


I think it is fine here, but I think this should really just be summarizing an idea that is discussed in greater detail in a Learning Activity (why those are suggested focal lengths). In any case, the indication of focal lengths in these steps will help students.I agree; I think this information here is fine as is. Let’s move forward. -MF


Exact focal lengths were encouraged when writing the Topical Outline to encourage students to adjust their lenses. Exact focal lengths are noted throughout the Topical Outline. Should we keep this information here or delete?


Students should already know how to do this, so it shouldn’t be spelled out here again. It should be enough to just indicate the expected light ratio.Doug noted he wanted this information repeated in the task. Leave as is –MF on 6.21.18


Again, I think students should be familiar with a lot of this, I think these steps can be shortened a bit and perhaps a few steps combined together, such as these.Combined steps. MF on 6.21.18


detail.

Contact Sheet

12.[15.] Create your contact sheet according to course standards. Review the attached PDF for the course standards on creating a contact sheet.

Contact and Proof Sheet Standards 13.[16.] Save your contact sheet as noted in the Submission Specifications section.

Top Images

14.[17.] Select your 3 top images showing a variety of focal lengths, one from each specification, and place your files into a proof sheet created according to course standards.

Click to download a PDF for the course standards on creating a proof sheet. Contact and Proof Sheet Standards

15.[18.] Save these images as noted in the Submission Specifications section.

Model Release

16.[19.] Ask your model to sign your model release so you may submit it with your work. Save your model release as noted in the Submission Specifications section.

17.[20.] Combine the Contact Sheet, Proof Sheet of 3 Top Images, and Signed Model Release into a PDF file. Name your folder as noted in the Submission Specifications section.

18.[21.] By the due date, attach the zipped file to your post in the Discussion Area on the next page.

19.[22.] By the end of the week, use the Discussion Area on the next page to critique the artifacts posted by at least two of your peers.

Grading Criteria Tables

This task will be graded on the following criteria:

Submission Criterion Descriptor Points

Specifications How well directions were followed.

5



Combined files noted here.

NIIT, 05/30/18,

Note to DCEH: This will be hyperlinked to:


NIIT: Please link this to the standards document for proof sheets.


Is it completely open, or do they need to include one from each set of 12 – more clarity needed here.Adjusted – MF on 6.21.18

NIIT, 05/30/18,

Note to DCEH: The SME has suggested that the attachment below should be hyperlinked with this bit of text.As it seems, she is not aware that the same PDF is now going to be a mandatory component in all PHOA courses under the Resources section. We would request you to let NIIT know if it is okay to keep it here as well as in the Resources section? Or should we remove it from here and only let it appear under Resources? Please guide. It can appear in both places as needed - MY


NIIT: Please link this to the standards document for contact sheets.


Again, I think lighting control and metering should alleviate the need to do this.Removed – MF on 6.21.18


Combined file including: Contact

Sheet, Proof Sheet, and

Signed Model Release

Timeliness Adherence to deadlines. 5

Participation Substantive professional engagement in discussion or

critique; degree of effort, and self-assessment.

5

Total Points 15

------------------------------------------------------------------------------------------------------------------------

Based on your instructor's feedback, you will revise M3 Task 1 submissions and the final versions will be graded based on the following criteria as part of your Milestone 3 Submission:


Contact Sheet

Specifications How well directions were followed.

10

Professional Presentation

Contact sheets address task requirements and have accurate

manual exposures and appropriate ISO choices.

20

Lighting

Professional lighting tools utilized with effective skill, creative vision

and appropriate technique to meet the task objectives.

25

3 Top Images Post Production

Images employ strong postproduction technique

appropriate to the task; Final images demonstrate a clear and relevant concept that addresses

the project objectives.

25



Rubric updated to match the Master Rubric.


Model Release Professional Practice

Submission demonstrates an understanding of standard

business practices and a professional approach to the

task.

10

Milestone Report Final Milestone

Written report of at least 300 words that addresses challenges

and lessons learned.

10

All Milestone Deliverables

Timeliness Adhered to deadlines.

30

Total Points 130

Submit

Milestone 3 Task 1: Post Here

Due <Week 3, Day 3>



Due date adjusted par Doug’s request; changed from Day 4 to Day 3


Milestone 3 Submission: Instructions

Milestone 3 Submission

Overview

You have completed the first stage of your work for this milestone submission already. Your next step is to review your instructor feedback, gather your materials, and revise your work as advised. For the completion of this milestone, submit your revised materials from Milestone 3 Task 1 for grading.

Also, write a 300-word Milestone Report that summarizes your learning experience. This report should address your interpretation of the tasks, your approach, and the improvements that you made with your revision.

Submission Specifications

A zipped file named PHOA232_LastnameFirstinitial_M3_Submission_Revision.zip that includes:

o Combined PDF containing revised Contact Sheet, Proof Sheet, and Signed Model Release: file named PHOA232_LastnameFirstinitial_M3_Submission_Revised Combined.pdf

o Milestone Report: A Microsoft Word file named PHOA232_LastnameFirstinitial_M3_Submission_MilestoneReport.doc that includes:

A 300-word summary of your learning experience. This report should address your interpretation of the tasks, your approach, the improvements that you made with your revision, and planning for your next photo shoot.

Steps for Success

1. Review the feedback that you received for Contact Sheet, Proof Sheet, and Sign Model Release. Revise your work as advised from the instructor.

2. Write a Milestone Report in 300 words that summarizes your learning experience. This report should address your interpretation of the tasks, your approach, and the improvements that you made with your revision. This report should also address your plans for the upcoming Milestone 4 Task 1. You’ll comment on where your shoot will take place, what the lighting requirements, props, and wardrobe are, and who will be their model. Along with this initial plan, you’ll also be required to have a “Plan B” and a “Plan C.” Refer back to your Project template from Milestone 1 and the feedback you received to see what



And planning for the next shoot.Added on 6.21.18 - MF


may need to be adjusted. Save the file as noted in the Submission Specifications section.3. Save your newly revised files from your tasks as noted in the Submission Specifications

section.4. Place all of your items into a folder and name the folder as noted in the Submission

Specifications section. Compress the folder into a zipped file.5. By the due date, submit the zipped file in the Submissions Area on the next page.

Grading Criteria Table

Your Milestone 3 Submission will be evaluated as follows:


Contact Sheet

Specifications How well directions were followed. 10

Professional Presentation

Contact sheets address task requirements and have accurate

manual exposures and appropriate ISO choices.

20

Lighting

Professional lighting tools utilized with effective skill, creative vision and

appropriate technique to meet the task objectives.

25

Proof Sheet Post Production

Images employ strong postproduction technique appropriate to the task;

Final images demonstrate a clear and relevant concept that addresses the

project objectives.

25

Model Release

Professional Practice

Submission demonstrates an understanding of standard business

practices and a professional approach to the task.

10



Rubric updated to match the Master Rubric.


Milestone Report

Final Milestone

Written report of at least 300 words that addresses challenges and lessons

learned.

10

All Milestone Deliverables

Timeliness Adhered to deadlines. 30

Total Points 130

Submit

Milestone 3 Submission: Post Here

Instructions

Submissions

No submissions yet. Drag and drop to upload your assignment below.



Due <Week 3, Day 7>

Review/Approval

Reviewer DateComments (Ex: Approved as is; Approved with changes noted; etc.)

Damon Sauer 5/30/18 Reviewed

Mary Yates 6/4/18Approved with changes – please simplify steps for success. See Damon’s notes.

Damon Sauer 6/27/18 Second Review


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