Final Portfolio

Due:

Final critique, Wednesday 4/27, beginning of class.

Two Parts:

1. Print. 6 exquisitely printed and window matted prints, demonstrating strongest work from the semester. Images may be drawn from any of the projects from the course. Print on decent quality paper. Choose carefully—seek guidance from instructor and classmates for multiple opinions
2. Files. 14 high quality jpegs at max 1200 pixels per longest side. This group should include the images from the print portfolio above in addition to 8 more from other assignments not represented by your print portfolio. The following assignments must be represented. Its okay to have more than one image from a single assignment, if that best represents your strengths. Its also okay to include 1-2 images shot for the course that perhaps fell outside of an assignment, or that were significant revisions not already submitted. All files should be edited appropriately (cropped, enhanced, retouched, etc.)

• Active/Passive *or* 4 Factors of light (choose strongest)
• Using strobes *or* working with reflections (choose strongest)
• Still Life
• Natural light portrait (creative)
• Single strobe portrait
• Multiple lights on figure (exercise) *or* creative multiple light (choose strongest)
• Mixed continuous with daylight
• Open Project

All files must be named with the following method. Incorrectly labelled files will not be counted.:

Lastname_Project_number.jpeg

With your editing decisions, all work should be technically strong, but place an emphasis on creative vision, if you have a choice. Any questions, just let me know.

Two additional large prints can be run for you—for your own collection, freebies! Turn in correctly sized files (up to 16 x 20 at 360 dpi) by Monday 4/25

Thanks,

Chris

Demo Images from Class

Tungsten

Strobe

Mixed

This is strobe/daylight sequence. Only the shutter speed was changed to create the effect.

Balancing strobe with continuous light

This is a technique that is quite popular these days—balancing strobe with daylight, especially when the strobe/softbox is given priority, as in the last image of this award-winning self-portrait sequence. I hope you are all laughing. The trick lies in the little bit of photo magic related to how strobes and continuous light sources behave with respect to f-stops and shutter speeds. Strobes are "shutter blind" — they are only affected by f-stop, not shutter speed, while continuous lights are affected by both. Using a faster shutter speed makes the daylight go darker, while the strobe is left unchanged (but appears brighter in proportion). This technique can be especially nice in fading daylight. More in class...

Multiple light creative image

Due 4/6

After exploring the multiple light approaches / exercises, apply one of the techniques to a creative image. Can be figure or object. As you know how, be adventurous with model, props, concept, theme, etc. You can even continue a previous theme, but now shift over to more complex, multiple light arrangements. Shoot many variations, but plan to turn in one. (Print and file)

Multiple lights with the figure

Shoot exercise shots using the lighting configurations below. Pay critical attention to exposure and lighting rations (use meter). Try for interesting poses and compositions, keeping in mind some of the things discussed in class about light directions in relationship to the face.

Due: Wednesday 3/30, end of class period. Draw diagrams in class.

1. Standard commercial set-up. Softbox main. Umbrella fill. To start, explore lighting ratios between main and fill. 1:1 (fill and main equal), 2:1 (main one stop brighter), 4:1 (main two stops brighter), 8:1 (main is three stops brighter), 1:0 (no fill). Make pictures of each ratio. When you settle on the most favorable, start adding in background light (bounce off fabric, use grid spot) at various ratios (make photographs of each ratio). Finally, add hair light (grid spot, low power)
2. Twin umbrella set-up (1:1). Add glancing backlights (gridded spots), vary ratios. Black background.
3. Ultra diffused light (softbox with extra diffusion) with subtraction (dark) card to define shadows. Light the background appealingly.
4. Direct, theatrical light. Use moderately diffused main light, off to the side, possibly raised. Minimal or no fill. Use glancing backlight. Light the background appealingly.

Single Strobe creative portrait/figure

For this project, work toward an ambitious, creative and inspiring visual statement that features a human figure/person in one way or another. You should end up with at least 3-4 images/variations that are fairly close together—perhaps varieties of lighting/pose/composition. Plan for multiple shooting sessions with the same model/figure.

Lighting:

• Use only a single studio strobe to light the subject. Light can be modified in any way you see fit. Umbrella, grid, barn doors, diffusion, softbox, etc. Thoroughly explore your options with light quality and direction. Fill-card is highly recommended.
• A second strobe may be used, but only to light the background, but this is optional.
• The lighting considerations should be a priority. How does your lighting support your image?

Sense of Purpose:

• The image should have a sense of coherence and purpose. Consider engaging a theme or concept and design your photograph around it. Perhaps you have a character you would like to portray? Or perhaps a sense of mystery? Even something as simple (?) as "elegance" or "beauty" can translate nicely as a visual theme or concept. How do you define them? What would they look like?
• Use clothing/props/costume/styling as you see fit
• Finished images should not look like lighting demos, commercial portraits or wedding images—work outside of conventional norms to create an original, inspiring image. Risk will be rewarded!

Due 3/30. Prints and files due by the beginning of class.

Light Directions

These came from a demo a few years back, showing the different light directions on the face.

Raised front light with bottom fill

Short light with side fill

Broad light