Photography I, ART 1310

ART 1310 Assignments

Assignment 1
Assignment 2
Assignment 3
Assignment 4
Assignment 5
Assignment 6
Assignment 7
Assignment 8

Assignment 1: Definitive Exposure

Photograph something that defines who you are and meet the following criteria:

Use your camera's light meter to get a proper exposure
Discover if your camera has any mechanical problems
Apply Principle of Composition #1, Line and Repetition
Bracket Each Shot in 1 stop incriments: +1 and -1
Make 3 equivalent exposures of each shot

Other Requirements: Use color transparency (slide) film 36 exposures (Fuji Sensia, Provia, Velvia or Kodak Elitechrome), manual setting only, keep accurate records of each shot.

What to turn in: (1) Your binder, with your name on it, with all original slides in the order you shot them, (2) your exposure log, and (3) scan, downsize, and email your best shots to me (72 ppi resolution with a width or height, which ever is bigger, of 1000px).

Further Clarification

Subject is wide open. Just photograph something meaningful to you. That might be something you find particularly weird about our culture, something you enjoy doing in your free time, a person that is very close to you, or something that is beautiful to you, etc. Then follow this pattern:

Before you begin the following steps, use the setting your camera meter gives you and photograph (1) a white piece of paper, (2) a black piece of paper, and (3) a gray card so that the paper and card fills the frame. You only need to do this once. Then find a photograph you want to make and do the following:

Hold the gray card in front of the camera so that it fills the frame, is under the same light you subject is in, is not acting as a reflector, and the gray side is not the shadow side of the card.
Set your exposure.
Photograph the gray card.
Remove the gray card and shoot the scene without adjusting the exposure.
Bracket, overexpose by one stop from your original exposure
Bracket, underexpose by one stop from your original exposure
Make an equivalent exposure based on your original exposure
Make another equivalent exposure based on your original exposure

Repeat these steps with each new subject or location you decide to shoot until you've used your entire roll of film and keep accurate records on the exposure log.

Note: Keep the same framing and composition in each shot. Don't zoom in our out. When you are done you will have 5 sets of 5 identical images with three that are correctly exposed, one that is slightly overexposed and one that is slightly underexposed.

Click here for an example of Assignment 1

Useful Articles for better understanding this assignment: Article I, Article II

Assignment 2: Capturing Time

Create an element of movement showing both frozen time and passage of time with a subject you are interested in, and meet the following criteria:

Demonstrate forethought in applying shutter speed creatively
Apply Rules of Composition #2, Rule of Thirds
Freeze your subject
Create motion blur

Other Requirements: Use B&W negative film 36 exposures (make sure it is not C-41), manual settings only, keep accurate records of each shot, produce a contact sheet. You must photograph a subject that is moving. If the shutter speed drops below 1 over the focal length of the lens the camera must be on a tripod and you must use either a cable release or your camera's timer, unless you are purposely trying to create motion blur, by moving the camera. If this is the case make a note of it on your exposure log.

What to turn in: (1) Your binder, with your name on it containing your negatives and contact sheet, (2) your exposure log for this assignment, and (3) scan your 2 favorite image(s), one showing frozen time and another showing passage of time and email them to me (72 ppi resolution with a width or height, which ever is bigger, of 1000px).

Further Clarification

In this assignment you will be experimenting with shutter speeds and the effect shutter speeds have on your subject. Shoot subjects in different lighting conditions; daylight, cloudy, indoors, sunset, low light environments, etc. Basically you will be making a bunch of equivalent exposures where your shutter speed is your priority. You should try shooting indoors day, indoors night, outdoors day, outdoors night, and at dawn or dusk. You will have different ranges of shutter speed available under different lighting conditions. Remember generally speaking shutter speeds slower than1/60th of a second will blur your moving subject while speeds faster than 1/60th will freeze your moving subject.

Select a subject (this can be anything that moves; a person, a toy, plants in the wind, flowing water, etc)
Select a shutter speed that you would like to test, adjust the aperture so you get a proper exposure (use that gray card). If you cannot get a proper exposure, it is because there is either too much light or too little light. Select a different shutter speed and readjust the exposure.
Shoot the subject
Now shoot the same subject (and same general framing) with three different shutter speed at least two stops difference, each time adjusting the aperture to get a proper exposure.
Move to a different scene where there is either more or less light (indoors, outdoors, day, night, etc.) and repeat steps 1-4 until you have finished your roll.

Assignment 3: Depth of Field

Show mood by using both shallow and extended dept of field with a subject of interest and meet the following criteria:

Master equivalent exposures
Demonstrate the creative uses of aperture
Apply Principle of Composition #3, Unity, Balance, Dominance

Other Requirements: Use B&W negative film 36 exposures (make sure it is not C-41), manual settings only, keep accurate records of each shot, produce a contact sheet and two enlargements. One final note: IF YOUR SHUTTER SPEED FALLS BELOW 1 OVER THE FOCAL LENGTH OF THE LENS THEN THE CAMERA MUST BE ON A TRIPOD. So if you are shooting with a 50mm lens and your shutter speed is less than 1/60 (rounded up from 50) then you must use a tripod.

What to turn in: (1) Your binder, with your name on it containing (1) your negatives, (2) a contact sheet, (3) your exposure log for this assignment, and (4) two enlargements showing shallow and extended depth of field. Also be sure to (5) scan your favorite image(s) and email them to me (72 ppi resolution with a width or height, which ever is bigger, of 1000px).

Further Clarification

In this assignment you will be experimenting with different apertures and the effect the aperture has on your subject. Every image you take for this assignment must have depth. Depth requires a foreground, middle ground, and a background. With a wide angle lens (16mm to 35mm) your foreground object should be 4 inches to 2 feet away, for a normal lens (35mm to 80mm) your foreground object should be 1 to 4 feet away, and for a telephoto lens (100mm and greater) distance is less important.

Basically you will be making a bunch of equivalent exposures where the aperture is your priority. Remember the bigger the aperture the smaller the depth of field and the smaller the aperture the larger the depth of field. Also keep in mind that the bigger the number the smaller the aperture.

Select a subject.
Select your largest aperture and adjust the shutter speed so you get a proper exposure (use that gray card). If you cannot get a proper exposure, it is because there is too much light lighting the scene. Go one stop smaller on your aperture and readjust the shutter speed until you are able to get a proper exposure. If that doesn't work continue closing in one stop increments until you can get a proper exposure.
Shoot the subject
Now with the same subject do the same thing using your smallest aperture. If you can't get a proper exposure at your smallest aperture it is because there is too little light lighting your scene. Go one stop larger on your aperture and readjust the shutter speed until you are able to get a proper exposure. If that doesn't work continue opening in one stop increments until you are able to get a proper exposure.
Finally take two more shots of the same subject using two other apertures between your largest and smallest setting. Be sure to re-adjust the shutter speed each tiime to get a proper exposure.
Now move to a different scene or subject and repeat steps 1-5 until you have finished your roll.

All enlargements must be about 8x10. You can choose to print full frame (where you show the edges of your negative) or not. Borders should be even and clean. Prints should be free of dust and scratches.

Click here for an example of Assignment 3

Assignment 4: The Power of Contrast

Create images showing both high and low contrast with a subject of personal interest and meet the following criteria:

Learn to recognize contrast while you are shooting
Learn how to control contrast using contrast filters in the darkroom
Learn how to control contrast using dodging and burning
Apply Principle of Composition #4, Contrast in Tones, Shape, Texture, etc.

Other Requirements: Use B&W negative film 36 exposures (make sure it is not C-41), manual settings only, keep accurate records of each shot, produce a contact sheet, and 5 enlargements as explained below.

What to turn in: (1) Your binder, with your name on it containing (2) your negatives, (3) a contact sheet, (4) your exposure log for this assignment, and (5) three enlargements of one image where you use a #5, a #0 and no filtration and two enlargement that shows dodging and burning (before and after) with the before print marked up as to where you dodged or burned and for how long. Also be sure to (7) scan your favorite image(s) and email them to me (72 ppi resolution with a width or height, which ever is bigger, of 1000px).

Further Clarification

In this assignment you should shoot at least one high contrast, one low contrast, one high key, and one low key image and make a note of it on your exposure log.

Remember that contrast is the difference between lights and darks. You can control contrast in several different ways. (1) Contrast can be controlled by the lighting. Photographing subjects under direct sunlight will create high contrast images, whereas photographing subjects in the shade or under cloud cover will lower the contrast. (2) You can control contrast through exposure. Overexposing or under exposing an image +-2 or 3 stops to create a high key or low key image where all the tones are light or dark can lower the contrast. Note: You must have made a note of this in your exposure log before you develop the film. No blaming accidental overexposure on an attempt to create a high key image. (3) You can also control contrast by finding two subjects of opposing or similar values and placing them next to or against one another and eliminating any background clutter. Simplify. (4) Finally you can control contrast using different colored filters to block out and let through certain wavelengths of light. For example, a red or yellow filter on your camera lens will darken a blue sky because it is only letting through red and yellow light and blocking the blue light of the sky.

Some examples of images where contrast is a dominant element.

After you have shot and developed your roll of film, select your favorite image and in the darkroom make three enlargements of that image; one where you use no filtration, one where you use a #5 filter and one where you use a #0 filter. Remember to make a test strip each time you add or remove filtration. Also make a note on the back of the print as to which aperture you used, the amount of time you exposed the print, and filter number you used.

Next select another image you like, but that you think may need some dodging and burning. Make a straight print with no dodging and burning and make another where you dodge and burn so that you can compare the two. On the first print with no dodging and burning mark with a pen or marker where you intended to dodge and burn, with the exposure times.

Assignment 5: Harnessing Light

Shoot a subject of your choice lit from 3 different directions, under 7 different light sources meeting the following criteria:

Demonstrate the different qualities of light
Learn how to control and find light
Learn how to use light to create mood
Apply Priniciples of Compsition #5, Color Harmonies

Other Requirements: Shoot digitally, use manual settings only, keep accurate records of each shot, produce a Photoshop contact sheet with no more than 20 images per sheet, and at least one good, color accurate, 8x10 enlargement.

What to turn in: (1) Your binder, with your name on it containing (2) a Photoshop contact sheet printed on the Epson 1400 with the file name included, (3) your exposure log for this assignment, and (4) one 8x10 print using the Epson 1400 printer. Also be sure to (5) downsize your favorite image(s) and email them to me (72 ppi resolution with a width or height, which ever is bigger, of 1000px).

Further Clarification

In this assignment you will be experimenting with the different qualities of light. Before you begin make sure that your camera's white balance is set to Daylight. Next choose several different lighting situations. This could be in direct sunlight, cloud cover, shade, incandescent light at home, candlelight (requires a long exposure), florescent office light, sodium vapor street lights, halloween blacklight, lava lamp light, sunset, after sunset, diffused window light through a curtain, etc. Ask yourself what effect will this light source give me? If I'm shooting under incandescent in a bar, what kind of mood will this create and what kind of subject would be complimented by this lighting? A jazz player, a guy with a cigar, or a new born baby? Probably the first two. What about a sunny day at the beach, or cloudy day in the city? Be creative. Think before you shoot.

After you have choosen your lighting and your subject, look at the subject and identify the source. Is it the sun, a window, the sky, a lightbulb, a streetlamp? Is there more than one source? Is some of the light from the window bouncing off the wall and adding more light to your subject?

Now shoot the subject (you can bracket if you would like, just to be safe). Change the lighting direction with each new shot so that the light is coming from the front, the back, the side, above, or below. Do not include the light source in the shot. Note: to change lighting direction you can either move the light source, the subject, or your own position.

Final Note: Shoot at least 40 images but no more than 50 images and do not erase any images, I want to see them all. In other words, get the exposure right before you shoot, and bracket if you need to. You will find that the way it looks on the little display on the back of your camera is not always how it looks on the computer or when you print it.

Some Examples:

Assignment 6: History of Photography

Research and stylistically reproduce an image or series of images of a historically important photographer. There is a list of photographers on this website under the Gallery section. Historical is usually defined as being more than 50 years old. Which would be images before 1960. You are welcome to choose any of the photographers that fit this category on the website or research other historical photographers.

Learn about a photographer who's style you admire
Using the techniques you've learned so far reproduce that style

Other Requirements: Keep accurate records of each shot (you can pull this out of the metadata in Adobe Bridge), produce a contact sheet, and at least one good 8x10 enlargement. Shoot digitally and adjust it in Photoshop to match the photograher's style.

What to turn in: (1) Your binder, with your name on it containing (2) a Photoshop contact sheet printed on the Epson 1400 with the file name included, (3) your exposure log for this assignment, (4) one 8x10 print using the Epson 1400 printer, and (5) a one and a half page paper, 12 point font, double-spaced, describing, in your own words and based on your research , the historical significance of your photographer (what made him or her more special than other photographers), his or her style and philosophy, and why you are inspired by their work. Be sure to site your sources. Also be sure to (6) downsize your favorite image(s) and email them to me (72 ppi resolution with a width or height, which ever is bigger, of 1000px).

Further Clarification

Many professional photogaphers have been inspired and have found their vision and philosophy through the vision of others. This assignment gives you the chance to discover and learn about a photographic style that you are interested in. If you like portraiture find a photographer that photographed people 50 or 100 or 150 years ago and mimic their style. If you like fashion study the great early fashion photographers. Likewise landscape, aesthetic, scientific, documentary, and so on.

Do not duplicate an image exactly. You are looking at general ideas of subject matter, composition, lighting, poses, and other elements that made these photographers images work and then incorporating these elements into your own images. Do the research portion first and then shoot.

Also in this assignment you will be using Photoshop to adjust your image in post. You may want to convert it to black and white, tone it, add texture, weather the edges, etc. Below are links to a couple of sites that offer tutorials on how to make your images look worn and other interesting Photoshop techniques. Remember to save your file under a different name so that you don't overwrite the original and to save it as a PSD. When you email it to me however you will need to take your final PSD file and save a JPEG copy that you can shrink it for the web.

As with the last assignment shoot at least 40 images but not more that 50 and do not erase any images. A good photographer knows when to shoot and when not to and understands exposure so they can get the shot on the first or second try. Make sure you apply the same photoshop adjustments settings to your contact sheet as you do your 8x10 image (ie, convert your contact sheet to grayscale, colorize it, fade the color, add grain, etc.). Color photography as we know it today didn't exist unitl about 1935. If you do use a color photographer, you must tweek the color so it matches with the historic color scheme.

Warning: Don't copy and paste whole paragraphs, or you're entire paper for that matter, from the internet or any other source. It is alright to grab a qoute or two (be sure to reference it), but more than that and you are having someone else write your paper, which is both dishonest and not meeting the assignment. If you plagerize you will fail the assignment and will have to re-do the entire thing.

Some Photoshop Resources

Assignment 7: Contemporary Photography

Critically examine a couple of image or series of images of a contemporary photographer of your choice (contemporary meaning modern or 1970+) and then apply a similar style to your own work. There is a list of photographers on this website under the Gallery section. You are welcome to choose any of the photographers listed on the course website or research other contemporary photographers that you find in magazines like PDN or Communication Arts, in the library, or on the web.

Write about the style and philosophies of a well known contemporary photographer
Reproduce an image or series of images using that style or philosophy

Other Requirements: Keep accurate records of each shot (you can pull this out of the image metadata in Adobe Bridge), produce a contact sheet, and at least one good 8x10 enlargement. Shoot digitally and adjust it in Photoshop to match the photograher's style.

Further Clarification

Photography is visual storytelling in a single image. You have a message you want to communicate and then you use the tools available to you to tell the story. Every element in the photograph should contribute to the overall message; the objects, the lighting, the color, the contrast, the composition, etc. If they don't then you are telling a story like speaker who monotonously goes off on multiple tangents and leaves the audience bored and confused.

Up to this point you have learned generally about the tools of exposure, lighting, composition, contrast, lenses, aperture, shutter speed and Photoshop. Now is your chance to examine how modern photographers you admire have incorporated these principles in their work. Knowing these principles is one thing, being able to consciously use them to tell a story is another.

In this assignment you will critically look at how one photographer of interest has used the tools you have learned to tell a story. Part 1 of your paper will focus on a couple of images or a body of work and will describe how each element contributes to the story. Why did the photographer use a shallow depth of field in a lot of his or her images and what could this mean? What about the color scheme? Does the color scheme tell the same message as the depth of field or the composition? Why do you think this is?

Part 2 of the paper will be a proposal for the images you choose to create. What message or story do you want to communicate? Do you want to say that fashion is beautiful, or that fashion is a is base and degrading? Write about which color scheme, lens choice, composition, lighting, objects, aperture, shutter speed, contrast range, and style you will use and why. In what way will each of these elements contribute to your message?

After you have a story and a plan, execute it. Try several different approaches and see which one works.

When you are done shooting use Photoshop to adjust your image in post. You may need to convert it to B&W, desaturate it, colorize it, boost the contrast, etc. Remember to save your file under a different name so that you don't overwrite the original and to save it as a PSD. When you email it to me however you will need to take your final PSD file and save a JPEG copy that you can shrink it for the web.

Shoot at least 40 images but not more that 50 and do not erase any images. A good photographer knows when to shoot and when not to and understands exposure so they can get the shot on the first or second try.

Warning: Do not copy and paste whole paragraphs, or you're entire paper for that matter, from the internet or any other source. It is alright to grab a qoute or two (be sure to reference it), but more than that and you are having someone else write your paper, which is both dishonest and not meeting the assignment. If you plagerize you will fail the assignment and will have to re-do the entire thing, even if your images are good.

Contemporary Photogapher Galleries

Assignment 8: Your Best Work

This is your opportunity to creatively apply the basic principles of photography that we have covered in class to your own personal style and interests.

Apply all concepts learned in class to effectively create your vision
Produce a portfolio of your work
Verbally communicate your reasoning and philosophy behind your photography

Other Requirements: Take notes during the planning, shooting, and post-production process. These are reflections on your idea, things you discover during the shoot, and things you discover in post. You may shoot this assignment either digitally or traditionally. It is your creative choice.
What to turn in: (1) Your binder, with your name on it containing (2) a contact sheet (no erasing images if you shoot digitally), (3) your notes, (4) at least one 8x10 print. Also be sure to (5) (72 ppi resolution with a width or height, which ever is bigger, of 1000px) your images to me.

Further Clarification

You should approach this assignment with pre-planning.

First, think of a subject you are interested in or that you would like to learn more about (food, cars, sports, nature, people, city life, social injustice, religion, abstract symbols, politics, everday life, yourself, etc.)

Second, decide what you want to say about the subject. What is the message or story you want to tell? Do you want people to understand something about the subject or about your philosophies or both? WRITE IT DOWN.

Third, decide what would be the best approach. Do you use textural contrast, small depth of field, low key lighting, desaturated colors? What about composition? Should you use repitition, balance, simplicity, line? What objects do you need to include or exclude from your photograph? WRITE IT DOWN.

Fourth, shoot the subject according to your plan, but then try other things and see what you can come up with.

Finally, after you are done shooting write about any challenges you encountered, how you dealt with them, and what you learned that you will remember in future shoots. Note any new insights you gained about your subject. And last of all write about adjustments you had to make to your original plan during and after the shoot.

The day of the final you will be presenting your work to the class, explaining your idea, why you took the approach you did, and what you discovered during and after the shoot. You should address the following:

Why you choose your subject
What you wanted to say about your subject
What tools you used to communicate that message
What you thought worked and what didn’t work
Advice to those shooting this subject in the future