Teacher: Kenji Tachibana Digital Photography I. Student Examples.

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Teacher: Kenji Tachibana Digital Digital Photography I Photography I . . Student Examples Student Examples

Transcript of Teacher: Kenji Tachibana Digital Photography I. Student Examples.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I..

Student ExamplesStudent Examples

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Missed The Putt: Missed The Putt:

““Hitting the golf ball” story is Hitting the golf ball” story is a natural for an action-shot a natural for an action-shot interpretation. The re-shoot interpretation. The re-shoot missed both the action or missed both the action or even the beautiful product even the beautiful product shot opportunities.shot opportunities.

This could have easily been This could have easily been turned into an action shot by turned into an action shot by reorientation the club as reorientation the club as shown to the right.shown to the right.

Welcome 7, Week 4 – Welcome 7, Week 4 – Maximizing opportunitiesMaximizing opportunities

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Too Many: No No’s Too Many: No No’s

Using direct sunlight in conjunction with a glossy white Using direct sunlight in conjunction with a glossy white subject created a serioussubject created a seriousdynamic range challenge.dynamic range challenge.The exposure looks normalThe exposure looks normalbut the highlight is blockedbut the highlight is blockedup.up.

Without making lighting orWithout making lighting oran in-camera adjustments,an in-camera adjustments,there is no way to maintain a natural looking tonal range there is no way to maintain a natural looking tonal range under such extreme conditions.under such extreme conditions.

Welcome 7, Week 4 – Welcome 7, Week 4 – Exposure problemExposure problem

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Multiple Solution: PossibilitiesMultiple Solution: Possibilities

One solution is to cover the “set” with a 3’ x 3’ diffuser One solution is to cover the “set” with a 3’ x 3’ diffuser screen. It could have adequatelyscreen. It could have adequatelychanged the lighting to a muchchanged the lighting to a muchsofter tonal (contrast) range.softer tonal (contrast) range.

Another solution could haveAnother solution could havebeen to use a solid 4’x4’ lightbeen to use a solid 4’x4’ lightblocking material to create anblocking material to create an““Open Shade” lighting conditionOpen Shade” lighting conditionon the set. It would have been 2 to 3 f/stops darker. The on the set. It would have been 2 to 3 f/stops darker. The new “Skylight” lighting would have been much softer new “Skylight” lighting would have been much softer than the diffused sunlight.than the diffused sunlight.

Welcome 7, Week 4 – Welcome 7, Week 4 – Exposure solutionExposure solution

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

More Potential Solutions:More Potential Solutions:

Change the camera’s contrast setting to a lower adjustment. Change the camera’s contrast setting to a lower adjustment. Compact digital have a threeCompact digital have a threedegrees of adjustment whichdegrees of adjustment whichare High, Normal, and Low. are High, Normal, and Low. DSLR’s can have from 5 to 7DSLR’s can have from 5 to 7degrees of adjustments.degrees of adjustments.

Another option is to use a 2’Another option is to use a 2’x 2’ white fill-board to reflectx 2’ white fill-board to reflectlight into the shadow areas of the set to reduce the overall light into the shadow areas of the set to reduce the overall dynamic range.dynamic range.

Welcome 7, Week 4 – Welcome 7, Week 4 – Exposure solutionExposure solution

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Start Using These Techniques: NowStart Using These Techniques: Now

1.1. Avoid shooting white, black, or shiny objects in Digital Avoid shooting white, black, or shiny objects in Digital Photography 1.Photography 1.

2.2. Avoid shooting under direct sunlight which is a very hard Avoid shooting under direct sunlight which is a very hard “point source” light.“point source” light.

3.3. If you use sunlight, be sure to diffuse it. It can be diffused If you use sunlight, be sure to diffuse it. It can be diffused with a sheet but you will loose a light of light. Use velum with a sheet but you will loose a light of light. Use velum instead which can be purchased from an art store.instead which can be purchased from an art store.

4.4. Use diffuse “Open Shade” or “Skylight” with gentle (soft) Use diffuse “Open Shade” or “Skylight” with gentle (soft) dynamic range characteristics.dynamic range characteristics.

5.5. Use fill-cards (or boards) to “fill-in” deep shadow areas.Use fill-cards (or boards) to “fill-in” deep shadow areas.

Welcome 7, Week 4 – Welcome 7, Week 4 – Exposure solutionExposure solution

Teacher: Kenji TachibanaDigital Photography IDigital Photography I..

Exposure GraphExposure Graph

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Histogram: Histogram:

Here is a Photoshop version of the exposure histogram. Here is a Photoshop version of the exposure histogram. It is a more accurate interpretation of the exposure than It is a more accurate interpretation of the exposure than the tiny histogram in the camera. Both the graph and the the tiny histogram in the camera. Both the graph and the image has red circles indicating the blown-out (area with image has red circles indicating the blown-out (area with no detail) areas.no detail) areas.

Welcome 7, Week 4 – Welcome 7, Week 4 – Exposure graphExposure graph

Teacher: Kenji TachibanaDigital Photography IDigital Photography I..

Telling a story about something you knowTelling a story about something you know

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Know Your Story: Subject Know Your Story: Subject

In writing, the mantra is toIn writing, the mantra is towrite about something youwrite about something youknow. I didn’t take this shot know. I didn’t take this shot but I did give it a title “Missbut I did give it a title “Missthe putt”.the putt”.

Because of my own ignorance about golf, I may have Because of my own ignorance about golf, I may have given it an erroneous title. The club may not be for given it an erroneous title. The club may not be for putting. It may be a driver for doing much longer shots.putting. It may be a driver for doing much longer shots.

Welcome 7, Week 4 – Welcome 7, Week 4 – Know your storyKnow your story

Teacher: Kenji TachibanaDigital Photography IDigital Photography I..

Composition – something I knowComposition – something I know

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Error #1:Error #1:

Red tee – avoid using red onRed tee – avoid using red onprop. It was a good idea toprop. It was a good idea toavoid white but a much lessavoid white but a much lessdynamic color would havedynamic color would havebeen less attention getting.been less attention getting.

Red is used for stop signs and runway safety markers Red is used for stop signs and runway safety markers because it is so “intense”.because it is so “intense”.

Welcome 7, Week 4 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Error #2:Error #2:

Glossy white subject - Glossy white subject - it has a predictable blown-it has a predictable blown-out highlight. Adjusting theout highlight. Adjusting thecamera Contrast would notcamera Contrast would nothave compensated for thehave compensated for theextreme dynamic range.extreme dynamic range.

Also, the other prop has a highly reflective metal face Also, the other prop has a highly reflective metal face which is catching some of the direct sunlight causing it which is catching some of the direct sunlight causing it to blowing-out too.to blowing-out too.

Welcome 7, Week 4 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Errors #3:Errors #3:

Subject position – the originalSubject position – the originalcamera framing is off balanced.camera framing is off balanced.It needed reframing as per theIt needed reframing as per thewhite dotted rectangle.white dotted rectangle.

Notice also that it was framed Notice also that it was framed using the DSLR’s 3:2 shape without consideration for re-using the DSLR’s 3:2 shape without consideration for re-cropping needs to meet the more practical 4:3 shape.cropping needs to meet the more practical 4:3 shape.

Welcome 7, Week 4 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Error #4: Error #4:

Whenever there is a productWhenever there is a productlogo, it must be level or it mustlogo, it must be level or it mustmeet the preferred logo anglemeet the preferred logo anglecriteria.criteria.

Unless you are shooting aUnless you are shooting aproduct shot for the company, it’s usually best to hide the product shot for the company, it’s usually best to hide the logo by turning it away from the camera.logo by turning it away from the camera.

Welcome 7, Week 4 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Error #5: A matter of opinionError #5: A matter of opinion

For the swinging club shot, IFor the swinging club shot, Iwould have wanted the swing would have wanted the swing to come from a different angleto come from a different angleas shown by my illustration.as shown by my illustration.This would have made a moreThis would have made a moredynamic golfing story.dynamic golfing story.

Welcome 7, Week 4 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Consider: All the possibilities Consider: All the possibilities

Think of the previous ideas presented not necessarily Think of the previous ideas presented not necessarily right or wrong but as “playing with ideas”. Thinking of right or wrong but as “playing with ideas”. Thinking of getting the most out of the current situation or scene.getting the most out of the current situation or scene.

What would make it right or wrong depends on your What would make it right or wrong depends on your story idea. For instance, the logo might have been story idea. For instance, the logo might have been rotated to suggest movement. And the specific angle rotated to suggest movement. And the specific angle would have suggested the direction of that would have suggested the direction of that movement. And that way of thinking is about telling a movement. And that way of thinking is about telling a story using visual clues.story using visual clues.

Welcome 7, Week 4 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Art: Not science Art: Not science

There are rudimentary rules of composition. Although, There are rudimentary rules of composition. Although, photographic design is more an art. The art of:photographic design is more an art. The art of:

• Balance to imbalanceBalance to imbalance• Symmetry to asymmetrySymmetry to asymmetry• Dynamic movement to frozen action Dynamic movement to frozen action • Straight line to wavy motionStraight line to wavy motion• White on white to black on blackWhite on white to black on black• Punchy brilliant colors to mellow pastelsPunchy brilliant colors to mellow pastels

Welcome 7, Week 4 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I..

Learning to LearnLearning to Learn

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4, Type A – Welcome 7, Week 4, Type A – ResourceResource

Learning:Learning:

It’s about practicing the “wanting-to- It’s about practicing the “wanting-to- learn” attitude. As much as I want my learn” attitude. As much as I want my class to make a difference in your class to make a difference in your photography career. It’s only one photography career. It’s only one class.class.

Learning to learn is about reaching Learning to learn is about reaching out. Library might be one of those out. Library might be one of those places. We have a great library here places. We have a great library here at NSCC. And we have the two at NSCC. And we have the two books on “Reserve” for you.books on “Reserve” for you.

Use ours or any library source.Use ours or any library source.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4, Type A – Welcome 7, Week 4, Type A – ResourceResource

Research Report:Research Report:

As long as your putting the time As long as your putting the time in to research, get extra credit in to research, get extra credit points for it by doing a points for it by doing a REPORT.REPORT.

Use the assignment Report Use the assignment Report Word template for doing this for doing this and any other type of reports.and any other type of reports.

Writing is about thinking and it’s required for this class.Writing is about thinking and it’s required for this class.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I..

Seminal Photographic Books of the 20th CenturySeminal Photographic Books of the 20th Century

by Andrew Rothby Andrew Roth

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Seminal Photographic Books of the 20th CenturySeminal Photographic Books of the 20th Centuryby Andrew Rothby Andrew Roth

List of photographers and their classic books over the last 100 years. List of photographers and their classic books over the last 100 years. Check it out. Get the “sense of the times” and a perspective for your Check it out. Get the “sense of the times” and a perspective for your own photographic creations.own photographic creations.

19071907 Edward S. Curtis – The North American IndiansEdward S. Curtis – The North American Indians

19091909 Alvin Coburn – LondonAlvin Coburn – London

19111911 Alfred Stieglitz – Camera WorkAlfred Stieglitz – Camera Work

19171917 Paul Strand – Camera WorkPaul Strand – Camera Work

19251925 Laqszlo Moholy-Nagy – Malerei Fotografie FilmLaqszlo Moholy-Nagy – Malerei Fotografie Film

19291929 Edward Stiechen and Carl Sandburg – Steichen The PhotographerEdward Stiechen and Carl Sandburg – Steichen The Photographer

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Seminal Photographic Books of the 20th CenturySeminal Photographic Books of the 20th Centuryby Andrew Rothby Andrew Roth

19301930 Ansel Adams – Taos PuebloAnsel Adams – Taos Pueblo

19341934 Man Ray – Man Ray PhotographsMan Ray – Man Ray Photographs

19371937 Margaret Bourke-White and Erskine Caldwell – You Have Seen Their FacesMargaret Bourke-White and Erskine Caldwell – You Have Seen Their Faces

19391939 Dorothea Lange and Paul Schuster Taylor – An American ExodusDorothea Lange and Paul Schuster Taylor – An American Exodus

19411941 Walker Evans and James Agee – Let Us Now Praise Famous MenWalker Evans and James Agee – Let Us Now Praise Famous Men

19451945 Weegee – Naked CityWeegee – Naked City

19471947 Robert Capa – Slightly Out of Focus Edward Westin – Fifty PhotographsRobert Capa – Slightly Out of Focus Edward Westin – Fifty Photographs

19521952 Henri Cartier-Bresson – The Decisive Moment Paul Strand and ClaudeHenri Cartier-Bresson – The Decisive Moment Paul Strand and Claude

Roy – La France de ProfilRoy – La France de Profil

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Seminal Photographic Books of the 20th CenturySeminal Photographic Books of the 20th Centuryby Andrew Rothby Andrew Roth

19591959 Richard Avedon and Truman Capote – Observations Robert Frank – Richard Avedon and Truman Capote – Observations Robert Frank – The AmericansThe Americans

19601960 Erving Penn – Moments PreservedErving Penn – Moments Preserved

19611961 Bill Brandt – Perspective of NudesBill Brandt – Perspective of Nudes

19631963 Eikoh Hosoe and Yukio Mishima – Killed By RosesEikoh Hosoe and Yukio Mishima – Killed By Roses

19641964 Harry Callahan – Harry Callahan PhotographsHarry Callahan – Harry Callahan Photographs

19661966 Walker Evans – Many Are CalledWalker Evans – Many Are Called

19671967 Andy Warhol – Andy Warhol's IndexAndy Warhol – Andy Warhol's Index

19681968 Danny Lyon – The Biker RidersDanny Lyon – The Biker Riders

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Seminal Photographic Books of the 20th CenturySeminal Photographic Books of the 20th Centuryby Andrew Rothby Andrew Roth

19691969 Carry Winogrand – The AnimalsCarry Winogrand – The Animals

19741974 W. Eugene Smith – MinamataW. Eugene Smith – Minamata

19831983 Larry Clark – Teenage LustLarry Clark – Teenage Lust

19871987 Bill Burke – I Want To Take PictureBill Burke – I Want To Take Picture

19891989 Joan Fontcuberta Y Pere Mormiguera – FaunaJoan Fontcuberta Y Pere Mormiguera – Fauna

19901990 Allen Ginsberg – Allen Ginsberg PhotographsAllen Ginsberg – Allen Ginsberg Photographs

SummarySummary

For the most part these books are published in the United States and are from For the most part these books are published in the United States and are from the George Eastman House collection. Note that a photography book on the George Eastman House collection. Note that a photography book on animals was not published until 1969 and that a book on Fauna did not appear animals was not published until 1969 and that a book on Fauna did not appear until 1989. A book on sensuality, Teenage Lust , took until 1983 to be until 1989. A book on sensuality, Teenage Lust , took until 1983 to be published. These point to changing western cultural values.published. These point to changing western cultural values.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Current Book IdeasCurrent Book Ideas

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – ResourceResource

The Photographer's Internet HandbookWriterThe Photographer's Internet HandbookWriterBy: Joe FaracBy: Joe FaracPublisher: Allworth PressPublisher: Allworth PressList Price: $18.95List Price: $18.95Note: It's a friendly beginner's book.Note: It's a friendly beginner's book.

Reader's Digest Complete Photography ManualWriterReader's Digest Complete Photography ManualWriterBy: Ailsa McWhinnieBy: Ailsa McWhinniePublisher: Reader's DigestPublisher: Reader's DigestList Price: $30List Price: $30Note: It covers from the very basic to the up-to-the-minute going Note: It covers from the very basic to the up-to-the-minute going digital. The book contains excellent topics with rich color digital. The book contains excellent topics with rich color illustrations. Full of how-to's and what you get illustrations.illustrations. Full of how-to's and what you get illustrations.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – ResourceResource

Pro Lighting - Provocative ShotWritersPro Lighting - Provocative ShotWritersBy: Alex Larg & Jane WoodBy: Alex Larg & Jane WoodPublisher: RotoVisionPublisher: RotoVisionList Price: $35List Price: $35Note: Impressively strong and complete about equipment Note: Impressively strong and complete about equipment and the final image!and the final image!

Pro Lighting – EroticaWritersPro Lighting – EroticaWritersBy: Alex Larg & Jane WoodBy: Alex Larg & Jane WoodPublisher: RotoVisionPublisher: RotoVisionList Price: $35List Price: $35Note: This is not as good as the above.Note: This is not as good as the above.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – ResourceResource

Creative Exposure Control WritersCreative Exposure Control WritersBy: Les MeehanBy: Les MeehanPublisher: AMPhoto BooksPublisher: AMPhoto BooksList Price: $24.95List Price: $24.95Note: Excellent book for intermediate photography Note: Excellent book for intermediate photography students.students.

Several good photography booksSeveral good photography booksBy: John HedgecoeBy: John HedgecoePublisher: DKPublisher: DKAvailable: NSCC LibraryAvailable: NSCC LibraryNote: Excellent book for beginner and the intermediate Note: Excellent book for beginner and the intermediate photography students.photography students.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – ResourceResource

ASMP ManualWriters: Official GuideASMP ManualWriters: Official GuidePublisher: AMPhoto BooksPublisher: AMPhoto BooksAvailable: NSCC LibraryAvailable: NSCC LibraryNote: As a student, you get a discounted rate to join the Note: As a student, you get a discounted rate to join the local ASMP. Consider taking advantage of this great local ASMP. Consider taking advantage of this great learning opportunity.learning opportunity.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – ResourceResource

Inner Light:Inner Light:

I personally found Bill Brandt's Perspective of Nudes from I personally found Bill Brandt's Perspective of Nudes from 1969 to be impressive and extremely contemporary. Start 1969 to be impressive and extremely contemporary. Start or add to your own discoveries in periodicals, books, and or add to your own discoveries in periodicals, books, and web sites.web sites.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

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Term ProjectTerm Project

Get Started NowGet Started Now

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – Term projectTerm project

Term Project: Final CD Term Project: Final CD

It’ll consist of 3 assignment images of your choice and It’ll consist of 3 assignment images of your choice and 9 more self-assigned images done during the Spring 9 more self-assigned images done during the Spring 2007 quarter2007 quarter..

All 12 images will be fully Photoshoped “.psd”. Each All 12 images will be fully Photoshoped “.psd”. Each file must contain the “Orig” and all the “adjustment file must contain the “Orig” and all the “adjustment layers” plus any other adjustment or correction image layers” plus any other adjustment or correction image layers. layers. Do not merge or flatten the image files. Yes, Do not merge or flatten the image files. Yes, the image files will be huge!the image files will be huge!

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – Term projectTerm project

Final CD:Final CD:

Please test your CD before turning it in. Last quarter, Please test your CD before turning it in. Last quarter, 3 students earned lower grade because I could not 3 students earned lower grade because I could not read their CD on my IBM laptop (Windows XP) nor read their CD on my IBM laptop (Windows XP) nor on my office Mac (OS 10x). on my office Mac (OS 10x). I suggest that you test I suggest that you test your CD by no later than mid termyour CD by no later than mid term..

Read/write on a CD is usually transparent when it’s Read/write on a CD is usually transparent when it’s done on the user’s computer. Problems crop up done on the user’s computer. Problems crop up when trying to read the CD on other computers.when trying to read the CD on other computers.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – Term projectTerm project

CD Format: SolutionCD Format: Solution

CD’s may look “universal” but don’t be deceived by CD’s may look “universal” but don’t be deceived by appearances. The most important part of the CD appearances. The most important part of the CD creation process is the “finishing” part.creation process is the “finishing” part.

Proper finishing will require you to take an extra step Proper finishing will require you to take an extra step not usually required when the CD is used on the not usually required when the CD is used on the original computer.original computer.

It must be finished with “Universal Access” turned on. It must be finished with “Universal Access” turned on. When you select it, you’ll get a warning that the When you select it, you’ll get a warning that the “processing time will take a lot longer” using this “processing time will take a lot longer” using this method.method.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – Special requestSpecial request

Special Permission Requested: Special Permission Requested:

I would like your permission to use any of your class I would like your permission to use any of your class work, assignment, and final portfolio images for work, assignment, and final portfolio images for future NSCC Student Art shows, future class room future NSCC Student Art shows, future class room examples, or campus wide promotional use.examples, or campus wide promotional use.

If you have a problem with that, please let me know. If you have a problem with that, please let me know. I thank you in advance for granting me the I thank you in advance for granting me the permission to use your images.permission to use your images.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – Print requestPrint request

Print Request: Print Request:

For the NSCC Student Art Show, framed 8x10 or For the NSCC Student Art Show, framed 8x10 or 11x14 prints work the best. A student recently 11x14 prints work the best. A student recently discovered that framing was no more expensive than discovered that framing was no more expensive than borderless mounting on a foam core board. It also borderless mounting on a foam core board. It also looks a lot better in the show.looks a lot better in the show.

If framed prints are needed for the NSCC Art Show, If framed prints are needed for the NSCC Art Show, I’ll contact you in advance. Please put your contact I’ll contact you in advance. Please put your contact information on the final CD case. information on the final CD case. Don’t write directly Don’t write directly on the CD – it’ll cause CD roton the CD – it’ll cause CD rot..

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – Term projectTerm project

My Expectation: My Expectation:

I don’t want to see your self-assigned images until I I don’t want to see your self-assigned images until I see it on your final portfolio CD at the end of the term.see it on your final portfolio CD at the end of the term.

All your self-assigned images must be fully All your self-assigned images must be fully Photoshop process, spotted, dodge & burned, and Photoshop process, spotted, dodge & burned, and custom enhanced as necessary.custom enhanced as necessary.

The Photoshop files must NOT be “flattened” or The Photoshop files must NOT be “flattened” or “merged” – all the separate adjustment layers must “merged” – all the separate adjustment layers must remain intact with layer names showing the remain intact with layer names showing the adjustment facts.adjustment facts.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – Term projectTerm project

My Expectation: My Expectation:

Your self-assigned images must fulfill all the standard Your self-assigned images must fulfill all the standard class assignment requirement from:class assignment requirement from:

1.1. Story telling – it must be simple, direct, and Story telling – it must be simple, direct, and universally clear.universally clear.

2.2. Composition – it must be compelling without Composition – it must be compelling without being noticeable.being noticeable.

3.3. Technique – absolutely transparent.Technique – absolutely transparent.4.4. Lighting – side light for form and content without Lighting – side light for form and content without

being noticed.being noticed.5.5. Report – 3 paragraphs, self grading, and EXIF.Report – 3 paragraphs, self grading, and EXIF.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Welcome 7, Week 4 – Welcome 7, Week 4 – Term projectTerm project

START SHOOTING FOR YOUR PORTFOLIO NOW!START SHOOTING FOR YOUR PORTFOLIO NOW!

Teacher: Kenji TachibanaDigital Photography IDigital Photography IWelcome 7, Week 4 – Welcome 7, Week 4 – RequirementsRequirements

Camera SettingCamera Setting

Image Size:Image Size: 2547 x 1955 or close as possible2547 x 1955 or close as possible Image Quality:Image Quality: 5 to 6 mega pixel5 to 6 mega pixel Image Quality:Image Quality: Highest quality jpegHighest quality jpeg Exposure Mode:Exposure Mode: Auto or Auto-P (P gives more Auto or Auto-P (P gives more

control)control) Exposure meter:Exposure meter: Matrix (computerized default)Matrix (computerized default) White balance:White balance: Auto (leave it this way for now)Auto (leave it this way for now) Sensitivity:Sensitivity: ISO 100 (Don’t use other settings)ISO 100 (Don’t use other settings) Aperture:Aperture: f/2.8 to f/6.3 as neededf/2.8 to f/6.3 as needed Shutter speed:Shutter speed: From 1/15 to 1/2000 secondFrom 1/15 to 1/2000 second Focal length:Focal length: Wide to Tele as the story requiresWide to Tele as the story requires Focus:Focus: Use focus-lock and re-composeUse focus-lock and re-compose Frame shape:Frame shape: 4:3 ratio4:3 ratio Digital zoom:Digital zoom: Never use!Never use! Flash:Flash: OffOff

Teacher: Kenji TachibanaDigital Photography IDigital Photography IWelcome 7, Week 4 – Welcome 7, Week 4 – RequirementsRequirements

The previous page requirements means exactly that. The previous page requirements means exactly that. You are required to get your specs either exactly or You are required to get your specs either exactly or close to my numbers and/or settings.close to my numbers and/or settings.

If you change anything such as the exposure mode from If you change anything such as the exposure mode from Auto to Manual or the ISO from 100 to 400, you must Auto to Manual or the ISO from 100 to 400, you must explain your action as being “logical requirement”.explain your action as being “logical requirement”.

Teacher: Kenji TachibanaDigital Photography IDigital Photography I..

Heads UpHeads Up

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Thing Shoot: ID PlusThing Shoot: ID Plus

I hope you got a good start with your ID only shot. The I hope you got a good start with your ID only shot. The next shot will require you to take it to the next step. That next shot will require you to take it to the next step. That will involve showing more of the background.will involve showing more of the background.

The ID shot required from 10 to 20% of the image to be The ID shot required from 10 to 20% of the image to be the background. The ID Plus will require 30 to 40% to the background. The ID Plus will require 30 to 40% to be the background.be the background.

The exact background percentage is determined by The exact background percentage is determined by your story. The ID only story required very little your story. The ID only story required very little background. The ID Plus will require more background background. The ID Plus will require more background to show.to show.

Welcome 7, Week 4 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

Thing Shoot: BackgroundThing Shoot: Background

What ever your subject is, it has a natural place that What ever your subject is, it has a natural place that it belongs to. That native place may be very limited it belongs to. That native place may be very limited or it may be very broad.or it may be very broad.

Example: A boombox is meant to be transportable. Example: A boombox is meant to be transportable. There is can be naturally found in variety of places. There is can be naturally found in variety of places. A loaf of bread would have less natural A loaf of bread would have less natural environments.environments.

Although a loaf of break in a grocery bag would Although a loaf of break in a grocery bag would increase the number of places that it might be increase the number of places that it might be naturally found.naturally found.

Welcome 7, Week 4 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

The Right Thing:The Right Thing:

From the “subject choice”, “what you have to say From the “subject choice”, “what you have to say about it”, to “where you chose to say it” is all up to about it”, to “where you chose to say it” is all up to your creative mind.your creative mind.

There is no right answer but we will all recognize the There is no right answer but we will all recognize the right image when we see it.right image when we see it.

Welcome 7, Week 4 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

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