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Teacher: Kenji Tachibana Digital Photography I x Self Portrait - spEnv ( Phase 3 - 44 slides ) Hit the bull’s eye on… 1. Story – have one and pack for.

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Presentation on theme: "Teacher: Kenji Tachibana Digital Photography I x Self Portrait - spEnv ( Phase 3 - 44 slides ) Hit the bull’s eye on… 1. Story – have one and pack for."— Presentation transcript:

1 Teacher: Kenji Tachibana Digital Photography I x Self Portrait - spEnv ( Phase slides ) Hit the bull’s eye on… 1. Story – have one and pack for it 2. Lighting – soft & from side 3. Technique – exposure, Focus, & color 4. Composition – design and negative space 5. Wow factor & Report – illustrate for extra points Highest Grade Factor! Copyright © 2003 – 2009 Kenji Tachibana

2 Teacher: Kenji Tachibana Digital Photography I Self Portrait: spEnv - seed image for the Library Show T hird Time is the Charm: Self portrait phase 3 Now that you’ve done the self portrait twice and shot four (4) class assignments, I expect you to be ready for the ‘real-grade’ shooting assignment. This shooting assignment will have a high grade-impact on your class grade. I expect your technique to be transparent. That means that your exposure is within.3 f/stop of normal. The lighting is a form rendering side light. And the composition includes a large background area fully relevant to the story. And for the image to have 2 to 3 ‘packed’ telling eleme.nts

3 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: Seed image for the Library Show G et it Right: Use project management Basically give yourself enough time to do the assignment properly. Properly means to study this document for full comprehension. Ask questions in class for assignment instruction clarification. Then, use your own hand’s on experience and slide number 37 to modify your own ‘require’ doc. Turn the require doc into a check list with at least 5 check boxes.

4 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: Seed image for the Library Show C heck Box: Project management tool  Use it to set your camera at home before you start.  Use it just before your test shoot.  Use it just before your real shoot.  Use it just before your re-shoot.  Use it just before your home file management process. Correct project management is to modify the ‘require’ doc as needed between each use… Update your ‘require’ doc after your home file management process.

5 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: Seed image for the Library Show P hotography means drawing with light Use soft broad-source light coming slightly from above and to one side. Pay attention to the catch light since that is a big clue to getting the right light and light direction.

6 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: S tory: Image title Stay away from universal and/or global statements. Keep it personal and simple. Although simple does not mean simplistic. The Report Title should simply and accurately describe the story being told by your assignment image. You can even add depth of meaning for your image by making the title be poetic or metaphorical. If you don’t ‘get it, please don’t ‘go for it’. Metaphorical sentence - Let the title be a metaphor which dance together with the image to imply or suggest a deeper story. Story tile appears at the top of the assignment report.

7 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: A ll In The Details: Few of you are still not paying attention to all the assignment requirements. Remember, whether in the preparation, shooting, or the final image editing phase, it’s all in the details. Continue to use the class textbook as your step- by-step guide. And update your own assignment ‘require’ doc as needed using my assignment instructions PowerPoint show as a guide.

8 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: M issed the Class: If you miss the Thursday assignment class, be sure to check out both the class instructions ‘doc’ and the assignment instructions ‘show’ from the online resource before checking in with your team leader. Otherwise, it will be unfair to your team leader and you will probably not get enough ‘details’ to do the assignment correctly.

9 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: R eport: Do it right Just make sure… go back to the online resource and open up and use the ‘reportTemp.doc’. It’s been updated since the last time you saw it. It now contains a bonus point opportunity. Make sure to provide the EXIF details for all four (4) images. Be sure to make all the ‘comments’ relevant to your specific image and experience.

10 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: R eflection: Looking backwards The ‘free choice’ assignment gave you a chance to loosen up while having fun shooting a story idea of your own making. That was followed by a reshoot to fine tune your understanding of your camera and the assignment requirements.

11 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: R eflection: Self portrait series After the warm up shoots, the self portrait series started with the simplest passport shot with a plain white background. That was followed by a slight increase in image area showing both more subject and background. It also required you to provide the story beyond the ‘head & shoulder’ framing description.

12 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: H ere and Now: Self portrait seed In this assignment, I expect you to shoot the seed image for the Library Show. And this will be the most complex image showing the subject in a natural environment. There must be an obvious connection between the subject and the background. The natural environment must make sense for the subject and story. Show enough of the background to show a sense-of-place.

13 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: L ess Is More: Back to basics This ‘In The Environment’ self portrait will include a huge amount of background image areas (60% or more). Every bit of the background (negative space) must contain story relevant imagery. Although be sure to build in the 10% image ‘safety margin’. That means to shoot 10% more image than you think you need.

14 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: S tudent: Walking Down the Path This was shot for the spHS assignment. It needs more clearance at the top and the focal point is in the optical center, which makes the image somewhat static. The focal point was moved off center and to the right. And it now faces out of the picture. I also took advantage of the S- curve in the background. I made it more obvious and repeated it on the opposite side. Now he is ‘Walking Down the path. Can you see it all…

15 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: N ext Assignment: Example spHS Andy’s story idea is a perfect ‘less is more’ example. It can easily be carried through to the next stage just by adding more background. Yes, it’s easy in theory only. spEnv… In reality, there are usually trees or other distractions just Outside the original image frame. But, I hope you got the idea anyway…

16 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: A side: Mistakes - not what they seem Most mistakes are true learning opportunities for you. They let you know exactly what you need to learn more about… We probably make too many for our delicate egos to withstand. Although mistakes offer the best chance to learn in this class… and in life. Don’t let your ego run your life… Listen to the deeper ‘Self’.

17 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: M istakes: Make use of it On assignments, do your best to see those learning opportunities early and take corrective actions. And that would offer up the perfect thing to write about in your Report. One student wrote about taking a short break between doing his shooting image sets. And, in the break, he realized the ‘error-of-his-ways’ and took corrective action before shooting the next series.

18 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: N ot just Numbers: I do want you to shoot at least 36 shots but not necessarily more shots. By taking only 6 exposure during each set, it is possible to shoot 6 different sets. Although, there must be a true ‘break’ between each of the 6 sets to relax and regroup your mind and body. And each set must be from a different point-of- view while keeping the same story. And each set must be an improvement from the previous set. Except for a cursory review of all 36 images, you really should be looking at the final 6 shots…

19 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: S potting Errors Early: Check the All compact digitals have an active Histogram. You can see the exposure graph before you take the shot. Histogram can be viewed as one of the LCD ‘Display Option’. Unfortunately, compact digital Histogram is usually very tiny making them hard to analyze. DSLR cameras have larger Histogram but they are often limited to passive display. Passive means that you can only see the exposure graph after the picture has been taken. And that is not as useful for avoiding problem lighting situations before shooting. But the histogram review must be done…

20 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: S ee It Before You Shoot: Use the active Histogram to eliminate poor lighting situations before you take the shot. And the histogram example Above is showing what to avoid… Watch out for that right edge, which shows the light side of the exposure graph. If the graph is climbing up the right edge, it’s usually bad news. There are few digitals that ‘flash’ the blown out areas of the image when the histogram is turned on. I find ‘zebra striping’ extremely useful. If you have it, use it by all means. This indicates blown out highlights. Avoid this at all cost. Lost detail can’t be retrieved!

21 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: H istogram Analysis: An art UnderNormalOver Way Too DarkBelievable Way Too Light This shows blown out highlights. Avoid this at all cost.

22 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: C orrective Action: EC Adjustments If UnderNormalIf Over Add “+” No changeSubtract “-” EC means Exposure Compensation

23 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: EC Adjustment: Turn it on and use it Activate the EC by selecting it either by pressing a button or by menu selection. An icon and a scale will appear on the LCD monitor I Warning: You must be in the shooting mode to activate EC. The yellow bar I is showing that the EC setting is at the default 0, normal.

24 Teacher: Kenji Tachibana Digital Photography I Self Portrait: Phase 3 EC Adjustment: How to I Moving the bar left to ‘-1’ will darken the image by one f/stop. That cuts the amount of light by half. To brighten the image, move the bar to the right. And the exact amount is up to your story. The EC adjustment is usually done by pressing on the 4-way button. Press left for less-light and press right for more-light.

25 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: F uzzy Images: Most blurry photos are the result of camera movement, which is operator error. There are 3 aspects to the illusion of sharpness that are distinct but are interrelated. 1.Focus point – the plane-of-focus. 2.Depth of field – the Illusion-of-sharpness. 3.Shutter speed – hand holding the camera can result in camera movement blur. 4.Wide and Tele have different hand holdable shutter speed requirements. wide – use 1/30 sec or higher wide – use 1/30 sec or higher speeds normal telephoto – use 1/125 or normal telephoto – use 1/125 or higher

26 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: A uto Focus: Not so smart You have to be the smart one. In this DSLR example shot, the auto focus resulted in a back-focused image. Although, it probably looked crisp-sharp in the camera LCD when viewed without magnification. Critically view all assignment images using maximum magnification during your image review and reshoot as necessary during the assignment shoot.

27 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: F ocus Bracket: The position of the focus bracket tells you why the auto focus failed. The auto focus looks for the highest contrast change in or near the focus bracket. And that contrast change is between the cheek and background (Squint view as needed to see it). And that’s where the camera focused.

28 Teacher: Kenji Tachibana Digital Photography I DSLR : Quality irony Ironically, the DSLR high image quality shows off the focus error extremely well. EXIF: Metadata Aperture - f/5.6 wide open Shutter speed - 1/80 sec Focal length - 33 mm normal Spec Info – Normal refers to the focal length based on the human eye. Self Portrait Phase 3:

29 Teacher: Kenji Tachibana Digital Photography I DSLR : Solution ideas Stopping down by 1-stop to f/8 would have helped by increasing the DOF. Although the cigarette would still have been out-of-focus. A better solution would have been to refocus on the finger tip. That plus stopping down might have carried the dof from the eyes to the cigarette tip. This could have been done using the spot focus. Self Portrait Phase 3:

30 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: W ide angle to T elephoto: Zoom lens toggle has a W and a T on it. The letters stand for wide angle (6 to 7mm) and telephoto (18 to 24mm or more mm). For those familiar with 35mm photography, the actual numbers are confusing because they’re too small. The compact digital focal length numbers are smaller than 35mm numbers because the image sensor is smaller. The 35 mm sensor chip is approximately 4.83 times larger than the compact digital sensor chip.

31 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: A side: Computer capabilities Zoom lens toggle has Ta different function in the Playback mode. The W puts the playback into the multiple thumbnail view. The T turns on the magnifier mode for close inspection of the image. Another reminder… Menu selections are different depending on the camera mode setting. You get the full shooting mode options in Auto-P and you get less choices in Auto. Playback mode has its own set of choices.

32 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: 35 mm: Equivalent numbers 4.83 is the multiplication ‘factor’ which converts the small compact digital numbers into full size 35 mm numbers. Wide: Actual 7.2 mm x 4.83 factor = 35 mm ‘normal’ wide Tele: Actual 17.8 mm x 4.83 factor = 85 m m ‘short’ tele Tele: Actual 22 mm x 4.83 factor = 105 mm ‘portrait’ tele This is based on the traditional compact digital chip size. Some of the current compacts have slightly smaller chips so the 4.83 does not give accurate equivalent numbers.

33 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: S tandard or Normal: Human eye equivalent Term35mmCompact Digital Wide35mm7.2mm approx. Standard50mm10.3mm Tele105mm22mm approx What does Human eye equivalent mean? Nothing is perfect but in that imperfect world, the normal lens shows what you see with your eye. If a football looks a certain way at 10 yards, it will look the same when viewed through a normal lens.

34 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: H istorical Perspective: For most of you, the zoom lens has been around since before you were born. But it’s relatively new in terms of photography history. And for the compact digital, there is nothing else. Although, DSLR users can still have access to fixed focal length lenses. And those are usually smaller, lighter, faster (brighter), sharper, and optically much less distorted. A professional photographer is willing to pay much more (more than a grand and easily 2 grand) for above describes characteristics. And especially the brighter and better corrected optics.

35 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: L ighting Shot: From your point-of-view as the subject, set your camera to its ‘Wide’ focal length and shoot back towards the original camera position. Aim the camera so that the original camera position ends up at the x x or x one of the x marked position. The camera position x may move to the right, left, or center depending on your actual lighting story. On rare occasions, it may even move up the frame. Or you may be required to shoot more than one shot to tell the full lighting story.

36 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: P ortrait and S till L ife L ens: I recommend the 22mm (70mm DSLR) for shooting both portraits (People) and still life (Things). It allows for psychologically comfortable and physically practically working distance between the camera and subject. It also allows for good perspective control when shooting People and Things because the 105mm equivalent telephoto tends to minimize optical distortion. It also gives good working distance for lighting and object manipulation. It is also a reasonable distance for having a friendly conversation with the subject.

37 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: P ortrait and S till L ife L ens: Option Some digitals are not capable of the full 22mm or the 70mm. They might be limited to 17mm or 50mm (DSLR). Then the less than perfect focal length settings must be used. On all SuperZooms, the telephoto goes far beyond the 22mm’s. Be careful not to let the focal length for beyond 23mm.

38 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: R equirements: Make changes to your own 1.Image Size2547 x 1955 – Sarah, please get this right. 2.Image QualityHighest quality compressed image 3.Exposure ModeAuto-P for ISO and EC exposure control. 4.Exposure meterComputer assisted meter reading. 5.ApertureAt least 1-stop down from wide-open. 6.ShutterSingle shot (not continuous) set to 1/30th or faster. 7.White balanceAuto using Skylight light source. 8.SensitivityISO 100 (using Auto-P will lock this in). 9.FocusComputer assisted Auto with centered focus bracket. 10.ZoomAny setting okay but 22 mm is still recommended. 11.Digital zoomNever use! 12.FlashForce Off (LCD icon looks like ). 13.Background8’ or more behind the subject and no light source (very bright area) in the background. 14.Light sourceSoft skylight from a modest side direction. 15.CompositionAt the minimum, use the 1/3 rule as a guide. Try to let the scene help you compose… 16.PropsPack at least 3 second reading objects in your image. 17.PoseTry to involve emotion and diagonals. 18.OtherI hope your list is more complete based on your needs.

39 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: A ssignment Mantra: 1.Shoot early to give yourself plenty of time for self assigned re-shoot to get it right before you turn it in. 2.Be self inspired – give birth to an idea worth loving, nurturing, and doing best for. 3.Test before the real shoot. Work things out in advance. 4.In the real shoot, shoot in 6 shot sets. Shoot a set, take a break. Use that pattern and shoot 5 more sets. Each set should get better. The last 6 shots should all be ‘keepers’. 5.Show pride of workmanship. Most of you have digital cameras capable of doing professional level work. Come back with images that might be seen in a consumer magazine. 6.Be willing to learn from your class mates, instructor, and most importantly from yourself.

40 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: H elpful Ideas: Give yourself time to reflect consciously and sub- consciously on all this new and not so new information. When doing further research, trust your gut and the outer world to guide your research topics. Pacing is important to learning this stuff. If you try to rush and force feed yourself to learn, your more likely not to learn and to burn out before the end of the quarter. You need to do your very best until the end of the quarter!

41 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: U npack the Right Stuff: Do your packing intentionally. Like it or not, the viewer will see a story in your image. Make sure that they get your intended story. Golden rule - keep it simple. Pack in only three dominant image elements. Since this is still a self portrait, you need to be the primary focal point. Pack in 2 or 3 supporting elements (2 nd, 3 rd, and 4 th reading). Use design to showcase the 2 or 3 elements. Use design to make the image move from the primary to the 2 nd, 3 rd, and 4 th reading elements.

42 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: S ummary: I have long since stopped giving written midterm tests. This class about image MAKING. So, rather than a written midterm test, please consider this shooting assignment your open book midterm test. I will finally be grading this assignment in a more exacting way. Example - some of you were given ‘tight layouts’. I expect you to deliver your final based on the tight layout. If you have better ideas, shoot them as cover shots that may end up being the ‘least’ choice.

43 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: S ummary: Continued If your image is over.5 f/stop dark or light, the grade for technique will reflect the exposure error. If a highlight area that is blocked up, that will result in a C or lower grade. Avoid this by not having a light source in the background. Same with color. Use the correct light source. If you use saturated color in the background, block if off to keep the color from colorizing the subject. You must not turn in images that are obviously blurry. Any blurry image will receive a C or lower grade on technique.

44 Teacher: Kenji Tachibana Digital Photography I Self Portrait Phase 3: L ast Reminder: Please remember that the spEnv shooting assignment is the midterm test. Also be aware that grade factor for the story is the largest grade factoring component. Pulling an ‘A’ on the story will go a long ways towards balancing out a lower grade in other areas … Story supported by Technique-Composition - Lighting

45 Teacher: Kenji Tachibana Digital Photography I x End


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