Photography
2
pacing
guide
2019
sequence rev july 5_2019
First day
business
Traditional Collage_15-20
photos as background you like_spell out “photography” with magazine letters
Create
Google account
Create a
(Google) Portfolio
Photography
review
Plus Pixels, Mega Pixels, DPI,
PPI_review
Fine Art
Photography vs. commercial
Photoshop
review and Photoshop help
Beginning
Photoshop_Adobe Photoshop Basics
Draw
a Photoshop mindmap on 11x17 paper, folded
1. Open
Photoshop
2. New
document
3. The
open window
Draw: Window_ Check Workspace, Adjustments, Layers,
Application Frame, Options,Tools
Draw: Toolbar
4. Save into
documents folder
5. Images
(Pictures)
•Drag image into document
•Move Tool
•Paint Bucket (see paint bucket lesson) https://digitalarthillwood.blogspot.com/2019/06/paint-bucket-first-assignment.html
First photo assignments_5 photos of things that you like
Digitize one of these photos and place it in your portfolio
6 photos that tell a story
Still Life
Digitized portrait photo (see #1, examples below)
High Speed photo without flash https://www.blogger.com/blogger.g?blogID=3307626410787499250#allposts/postNum=4
Digitized portrait photo (see #1, examples below)
High Speed photo without flash https://www.blogger.com/blogger.g?blogID=3307626410787499250#allposts/postNum=4
High key photography
Low key photography
A"Real" alphabet
10 photos of one color from:
Eye contact/no eye contact
Ask your subject to
look up, down, left, right
Only photograph things on the ground
Take at least 10 photos of one scene
Up Close
Up Close
vs. Macro
This assignment encourages you to get close
and personal with your subject. It is an exercise in viewing a common object in
a new way and examining its finer details.
Choose
an object that you see or interact with every day.
Focus
on a small part of it, get as close as your camera will allow you to
focus and shoot away.
Try
to capture different angles and unusual lighting to add to the mystery of this
tiny world.
From the whiskers of your cat to a
fragile Christmas ornament, even common soap bubbles, there is an entire world
that we often overlook because we don't get close enough.
look at:
Shadows
Shadows are everywhere and they are vital to
photography because this is the art of capturing light. With light comes
shadows and when you begin to look at shadows as a photographer, your world
will open up.
Take
a look around for shadows and record them with your camera.
You
could show the shadow as the total focus of the image. Or perhaps the shadow is
incidental to the subject.
Is
the shadow natural or created by flash?
Shadows are integral to creating depth in a
two-dimensional medium such as photography. Take some time to seriously explore
the "dark side" of the light.
Water
Water is everywhere in photography and it
presents many challenges. There are reflections and movements to work with and
in this exercise, you will take a deeper look at water.
Find
water anywhere it is around you: lakes, streams, puddles, even the glass on
your kitchen table.
Pay
attention to reflections and use them to your advantage in the photographs. Use
this opportunity to get familiar with a polarizing filter (a very useful tool
in your camera kit) so you can accentuate or eliminate reflections.
Play
with the motion of a stream or the crashing waves. Notice the difference between
stopping the flow of water and allowing it to blur to create a real sense of
movement.
Be sure to make water the subject and not an
accent to the image. Water alone is beautiful and mysterious and your challenge
is to explore all of its potential as a subject.
Leading Lines
A classic assignment in photography
schools, 'leading lines' is a popular
and fun subject. The goal for this assignment is to learn how to direct
the viewer to your subject using lines.
Choose
a subject then look around for lines in the scene that you can use to 'lead'
the viewer to the subject.
Or,
find an interesting line then determine what the subject of your photograph is.
Remember
that lines can be man-made or natural. For instance, the yellow line down the
middle of the road or a tree branch. Even a person's arm can be a leading line
to their face.
Use
this assignment as an excuse to take an afternoon photo excursion. Walk downtown
or in the woods and look around you for interesting lines that lead the eye to
a subject (any subject). There is an amazing assortment of lines out there in
the world and once you begin to see them, you won't be able to stop (and that's
great for your photographs).
Perspective
How do you normally stand when you shoot? If
your answer is straight up like a 5-foot-something human being then this
assignment is for you. The perspective assignment challenges you to view
the world from an entirely new perspective, which in turn gives the viewer a
new look at the ordinary.
Take
another afternoon or evening for a photo excursion wherever you like.
This
time, every time you find something to photograph, stop!
Ask
yourself: How would a squirrel see that tree? How would a robin view that
birdbath? How would a snake view that log?
Take
your photographs from very high or very low angles. Get on your belly or stand
on a chair, whatever you have to (safely) do to get the 'right' angle on your
subject.
If you pay attention to professional
photographs, many of the images that have the WOW factor are photographed from
extreme angles. People enjoy these photos because they've never seen an object
from that viewpoint, it is new and unique and you can train yourself to shoot
with this in mind.
Texture
You may have captured a few textural details
in the 'Up Close' assignment, but this assignment takes that to the next level.
The goal in this one is to study textures and forget about the object itself:
the texture becomes the subject. You will also begin to realize how light
affects the appearance of texture.
Find
a few objects that have very detailed textures like trees or rocks, even
knit sweaters or woven rugs.
Photograph
them as close as your lens will allow.
Use
different angles and capture the same texture as the light changes. Notice how
the different lighting directions and camera angles can change how much texture
appears.
Textures are all around us and many of the
best photographs in the world play up the textural element. This assignment
should teach you how to recognize and accentuate those elements in your photos.
Color Harmony
Color is important to photography because the
world is full of color. This exercise requires a bit of study in color theory,
which you will then put into practice in your photographs.
Do you remember art class in elementary
school? You may have learned that yellow and blue make green, but color theory
goes beyond that. There are cool and warm colors, complementary and contrasting
colors, neutral colors and bold colors.
It can get quite complicated and
photographers should have a basic understanding of color so you can use that
when composing photographs. You don't have to study color like a painter would
but can use tricks used by interior designers to
influence your color decisions.
Once
you have an idea of color theory, take another photo excursion and put what
you've learned into practice.
Capture
photographs with the primary or tertiary colors.
Look
for complementary colors then contrasting colors to photograph.
Try
finding a scene to photograph that is filled with neutral colors, then one that
uses a bold color to 'pop' from the scene.
This is an advanced lesson, but one that any
photographer working with color images will find useful. As you practice
working with colors, it will become second nature and you will know how to work
with color to change the feel of your images.
Emotions
Emotions, that's easy! Just take a photo of a
person smiling or scowling, right? Not so. The intent of this assignment is to
convey emotion in photographs without a face (that includes your
dog).
Take
photographs that express each of the basic emotions: happy, sad, and mad.
How
would you express the feeling of anger with no person? What about happiness?
Sadness?
This is a purely conceptual assignment, but
it is important to be able to relay emotion in your photographs and you might
not always have a person available to do that with. Challenge yourself to think
deeper about this one.
If necessary, as a review……..
Compositional Photographs: Lines
Compositional Photographs: Shape and form
Compositional Photographs: Value (Black and White)
Compositional Photographs: Color
Compositional Photographs: Texture
Compositional Photographs: Space
Compositional Photographs: Pattern
Compositional Photographs: Emphasis
Compositional Photographs: Pattern
Compositional Photographs: Variety
Compositional Photographs: Balance
Compositional Photographs: Rhythm and Movement
Compositional Photographs: Proportion
Compositional Photographs: Angles & viewpoints. 5 different
views of one subject.
Second semester
Pick your concentration
for ideas
look at:
Select
a photographer whose work you like and take 2 photos in his or her style.
Begin
taking photos for your concentration
Additional assignments (may be used in
concentration)
Double
exposure in Photoshop. 2 layers and multiply.
Changing the Mood. Adjust color to change mood of a photo.
Special
Photoshop Creative Ideas involving use of layers
High Dynamic Range (H.D.R.)
Photography
Camera Functions and Modes
Exposure
Exposure
1. Exposure, aperture, shutter and ISO
settings
2. camera sim
3. really good cheat sheet
White Balance
Drive Modes
Lens Focal Length
Exposure Compensation
Focusing Options
Depth of Field (Depth of Focus)
Time exposures
Compositional Photographs: Lighting
Multiple exposures with flash
Multiple exposures with flash
Compositional Photographs: Family Portrait
Compositional Photographs: Autobiographical Self Portraits
Superimposing and Layer Masks in Photoshop
Compositional Photographs: Surreal Self-Portrait
Compositional Photographs: Reflections
Compositional Photographs: Action
Compositional Photographs: Stopping Motion
Research more Photographers
Journalism
Portfolio presentation
examples and ideas:
1.
digitized portrait photo (see assignments, above)
examples and ideas:
1.
digitized portrait photo (see assignments, above)
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