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

Natural Light Portrait

Portrait Exercise images:

Due: 3/7

• Natural Light—Broad light
• Natural Light—Short light
• Natural Light—Front Light
• All images should use some reflective fill

Natural Light Creative Image of Person

Due: 3/9

• Should be completely original, exciting and engaging images—work will be evaluated on creativity and sophistication
• Should have some sort of theme or concept—literary, pop culture, personally inventive, visual intrigue, abstraction, etc. Really stretch!
• Study favorite/inspirational photographers for ideas
• At least three images of a person(s), with sophisticated use of natural light.
• Background/setting should support the subject.
• Should not look like studio exercises, commercial studio portraits/high school head-shots.

Still-lIfe Project, etc.

2/16 Photographing Glass

2/16 Progress Critique

2/23 Project Due

Working with Reflections, part 1

Reading: Chapters 3, 4, 6 (only pages 111-123)

Shooting:

#1 can be completed as group shoot. Others should be done individually.

1. Photograph an artwork on the wall or table. The art must be framed behind glass. Position light(s) outside the family of angles so that reflections are avoided. Cover your tripod/self behind a dark cloth. You can use a dark sheet, blanket, etc.
2. Photograph a flat shiny object, such as a metal spatula, antique mirror, or the like, on the table with white or gray seamless. The object should be one that produces primarily direct reflections.
• Image 1: make the object light
• Image 2: make the object dark
3. Shoot a distinctive shiny metal object in an artful way. Consider support (table ) treatment as well as background. Build lighting to enhance direct reflections in a way that supports your subject.

Using Strobes

Set up a minimal but tasteful still life with 1-2 objects (non-reflective). The table should be covered with fabric or some kind of interesting material. Set the table up several feet from the background. The background should be a fabric, texture, etc.

Light 1:

Use one strobe light as a key/main light. Diffuse/modify/position as required to vary direction, angle, and character. Try numerous variations.

Light 2:

Use another strobe mounted on a small stand to light your background

Lighting Ratios:

Explore various proportions between key light and background light intensity:

1:1; The intensity of light on subject and light on background are equal

1:2; The intensity of background light is half the intensity on the subject light

1:4; The intensity of background light is a quarter the intensity of the subject light

Light Meter

1. Use the incident strobe meter to determine exposures for your shot. Remember that the meter should be placed right in front of the subject, pointing toward the lens to measure your exposure
2. To determine light ratios, point the meter toward the light source your are measuring, while shielding it from the other light source. Note the difference in f-stops to calculate ratios. Note that the measurements are only valid for comparisons. To determine exposure for your shot, use method above.

Due: 2/7

Choose the group of images that have the most successful light placement, composition, etc. Print one of each light ratio for this set (Three prints total) Turn in files as well (1200x1200 pixels)

4 factors of lighting

1. Color
2. Angle
3. Intensity
4. Character (Contrast)

The above four factors, in some combination or another, contribute to all possible lighting designs. Is this true?

Exercise:

Choose a solid (relatively) non-glossy object. Use a single light source and reflector. Vary direction, angle, intensity and character of the light to create a series of still life images that demonstrates the variation. Choose an interesting object and complementary background. How do your choices create volume/presence in your object? What brings it to life? What creates depth? (review reading from last week) For at least one, create a sense of depth with your background (using a sweep with light fall-off or otherwise).

Due: Images, prints. One for each variation. 1/31 class-time

Active and Passive Light

DUE: 1/26

Edit group of images down to strongest example of each variation below. Optimize files and make prints for each. Hold on to 2nd and 3rd choices—especially if its hard to decide...

Which of the images above displays active light? Passive? Why?

Check out work by: Emily Hanako Momohara

http://www.ehmomohara.com/koden.html

Spend some time finding intriguing objects to photograph.... make it exciting for yourself. Select 1-2. Can be anything... antiques, personal sacred objects, books, shoes, articles of clothing, or even the human form or parts thereof (hands, for instance). For now, stick to non-reflective objects.

Create an appealing still life arrangement. Remember that the background is part of your scene—how will you deal with it so it supports your subject?

For a single subject explore the following. For all, use a single light source and reflector as required. Shoot at least 72 exposures—keep pushing for new variations.

Important considerations when designing these variations are:

• Relative size of the light source. Smaller light=more contrast, harder shadows. Larger light=lower contrast, softer shadows. Try different size lights... studio hot light, flash light, desk lamp, etc. Relative size can also be controlled with distance—to make a light source "larger", just move it closer to the subject.
• Diffusion. Tracing paper can be used to soften the light. Don't let the paper get too close to the light and catch fire. That wouldn't be good.
• Diffusing the light can also have the effect of making your light source larger. A small light illuminating a sheet of tracing paper becomes a large soft-box.

1. Create a lighting scenario that is active—where the light itself becomes the "lead character".
2. Create a passive lighting design—where the light simply reveals the subject and doesn't draw attention to itself.
3. Create a supportive lighting design, where the light plays an active, but ultimately supportive role. An example would be strong mood lighting, or atmospheric effect that embraces your subject. Hint: Diffusing the light variably can help. Shine your light through artificial blinds (as in class), dirty glass, or even a plant—something to break up the uniformity and imply a sense of setting. Smoke? (try smoking the set with incense)
4. See what you get with natural light. Use your gobos (foam core, mat board, or even dark sheet) to partially block windows and control the light....we can control natural light almost as much as we can artificial light.

Reading: pages 79-102. Possible quiz on reading next Wednesday

Tuning-in to Light

For 1/19

Read Chapters 1,2

Shooting:

Find instances of natural light that are truly unique events. Look for interesting effects of light on surface, reflections, shadows, etc. Make pictures that isolate these things. Keep distractions out of the frame. Go on an adventure with it. Morning and late afternoon ("golden hour") can be nice times to do this. Prepare to discuss/defend what you've found. Shoot many images (50+), plan to show 3-5.

Photographic Studio Lighitng

The course will present foundational skills in photographic studio lighting. Both natural and artificial light sources will be explored for producing aesthetically and conceptually engaging artworks. A wide range of applications will be explored including still life, portraiture, classic lighting problems, and open creative projects. Experimentation and improvisation is highly encouraged. Topics will reference both historical precedents and contemporary practices. The course will culminate with a portfolio of work.