Low Key Photography
Objective: Learn how to expose for effect. Also learn how to use available light to create low key photos.
What is due? 5 photos using low key lighting.
Low key refers to a style of photography that utilizes predominantly dark tones to create a dramatic looking image. Low key lighting intensifies the contrast in an image through intensely reduced lighting. I am challenging you to achieve a low key look without studio lights. One way to do this is to use two separate spaces. One space needs to be darker than the other space. For example, you can turn the lights off in a room and use the window as the light source. Try to keep the light from hitting the background, and purposefully underexpose the photograph.
What is due? 5 photos using low key lighting.
Low key refers to a style of photography that utilizes predominantly dark tones to create a dramatic looking image. Low key lighting intensifies the contrast in an image through intensely reduced lighting. I am challenging you to achieve a low key look without studio lights. One way to do this is to use two separate spaces. One space needs to be darker than the other space. For example, you can turn the lights off in a room and use the window as the light source. Try to keep the light from hitting the background, and purposefully underexpose the photograph.
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High Key Photography
Objective: Learn how to expose for effect. Also learn how to use available light to create high key photos.
What is due? 5 photos using high key lighting.
High key refers to a style of photography that utilizes predominantly light tones to create a bright and airy looking image. Use bright lighting to blow out most or all harsh shadows in an image or expose the photo for that effect. I am challenging you to achieve a high key look without studio lights. One way to do this is to use two separate spaces. One space needs to be brighter than the other space. For example, you can stand in a room with the lights on, use the window as the background light source, and expose for the subject. Since the light outside the window will be brighter, when you expose for the subject in front of the window, it will over expose the background. A second way to do this is outside. Stand on the shaded side of the subject and expose for the shaded side. Then make sure the sky is the background, which will over expose it since you are exposing for the shade. You can also use something white as the background and slightly overexpose to blow out the detail of the white background.
What is due? 5 photos using high key lighting.
High key refers to a style of photography that utilizes predominantly light tones to create a bright and airy looking image. Use bright lighting to blow out most or all harsh shadows in an image or expose the photo for that effect. I am challenging you to achieve a high key look without studio lights. One way to do this is to use two separate spaces. One space needs to be brighter than the other space. For example, you can stand in a room with the lights on, use the window as the background light source, and expose for the subject. Since the light outside the window will be brighter, when you expose for the subject in front of the window, it will over expose the background. A second way to do this is outside. Stand on the shaded side of the subject and expose for the shaded side. Then make sure the sky is the background, which will over expose it since you are exposing for the shade. You can also use something white as the background and slightly overexpose to blow out the detail of the white background.
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Photographer Presentation
Objective: Learn to identify how questions and/or experiences can direct a photo series.
What is due? A 3-5 minute presentation to the class. This presentation is open to however you want to do it (PowerPoint, Google Slides, the photographer's website, video magazines, etc.). Find a photo series that inspires you. You need to explain what the series is, what questions does the series answer or ask with the photos, what their style is (show plenty of CLEAN examples), and critique their photos (are the photos technically good, artistically good, interesting, etc.). Feel free to ask the class questions and lead a discussion.
When you critique their photos, here are some things to think about:
1. How is the technical quality?
You can use the class' website to find a photographer, Google one, or use this website to find one.
What is due? A 3-5 minute presentation to the class. This presentation is open to however you want to do it (PowerPoint, Google Slides, the photographer's website, video magazines, etc.). Find a photo series that inspires you. You need to explain what the series is, what questions does the series answer or ask with the photos, what their style is (show plenty of CLEAN examples), and critique their photos (are the photos technically good, artistically good, interesting, etc.). Feel free to ask the class questions and lead a discussion.
When you critique their photos, here are some things to think about:
1. How is the technical quality?
- In focus? (or if not, was that intended?)
- Exposure: Is it too light or dark? Are there blown out or underexposed areas? Do you consistently have dark, moody photos? Why?
- Use of depth of field to control the viewer’s eye.
- Use of contrast? Too muddy or too much contrast.
- How was lighting handled?
- How do the colors look?
- What principles of composition does the photo or photographer use?
- What should and shouldn’t be in the frame?
- Where is your eye drawn to?
- What emotion do you feel when you look at the photo? Or lack of?
- Did the photographer connect with his subjects or do they look tense, posed or stilted?
- Does the photograph tell a story, or part of one? (It could be as simple as, “here are my kids who I adore” or “here’s my dog catching a frisbee.” Or a very deep one such as, “this is what poverty looks like, right in my hometown.”)
- What techniques/lighting/lenses/props does the photographer seem to frequently use?
- Any specific mood that occurs in most of the photos?
- What kind of words would you use to describe most of the photos?
- What makes this photographer different from other photographers?
You can use the class' website to find a photographer, Google one, or use this website to find one.
Nothingness
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Objective: Learn about pre-production work in planning a creative photo shoot, taking the planned photos, and editing them. Also, learn how to use layer masks in Photoshop.
What is due? 1 photo, which is made up of at least two photos (subject and then background). Set up your camera on a tripod, pose your subject with an environment that will aid in your vision of Nothingness, and focus your camera on the subject. After you focus on the subject, switch the lens to manual focus. You'll take one photo of the subject, then have the subject step out of the shot, and photograph the background without changing any camera settings, ESPECIALLY the focus. What question is your photograph answering about nothingness? |
Levitation
Objective: Learn about pre-production work in planning a creative photo shoot, taking the planned photos, and editing them. Also, learn how to use layer masks in Photoshop.
What is due? 1 levitation photo completed in class, which is made up of at least two photos (subject and then background).
A great set of instructions can be found here for taking the photos and editing them. We are doing the levitation photos that involves using a stool or box on which to rest the subject. Use a tripod and manual mode. After you focus on the subject, switch the lens to manual focus. You'll take one photo of the subject resting on the support (i.e. stool), then remove the support and subject and photograph the environment without changing any settings.
The video below shows how to do the Photoshop steps to combine the two images.
What is due? 1 levitation photo completed in class, which is made up of at least two photos (subject and then background).
A great set of instructions can be found here for taking the photos and editing them. We are doing the levitation photos that involves using a stool or box on which to rest the subject. Use a tripod and manual mode. After you focus on the subject, switch the lens to manual focus. You'll take one photo of the subject resting on the support (i.e. stool), then remove the support and subject and photograph the environment without changing any settings.
The video below shows how to do the Photoshop steps to combine the two images.
Framing
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Objective: Practice framing subject and adding depth to your photo.
What is due? 10 awesome photos that use framing. Be creative with the frames that you use. Go beyond doors and windows. What else is in your environment that works as a frame? Can you hold something in front of your camera? Also, notice that when the frame is close to the camera it adds depth to your photo. |
Reflected Landscapes
Objective: Learn Photoshop selection tools.
What is due? 4 photos.
Get 4 photos that will show an interesting composition if you make a geometric selection and rotate the selection. Most examples on the internet are landscapes, but photos with buildings, people, cars, etc., can also be interesting.
Photoshop instructions:
Advanced options:
What is due? 4 photos.
Get 4 photos that will show an interesting composition if you make a geometric selection and rotate the selection. Most examples on the internet are landscapes, but photos with buildings, people, cars, etc., can also be interesting.
Photoshop instructions:
- Open the photo in Photoshop.
- Create a selection with either the rectangular or elliptical marquee selection tool. Hold shift to make a perfect square or circle when you create the selection. If you also hold Option on the keyboard, the center of the selection's shape will be where you click and expand out on all sides.
- Press command j to copy the selected pixels on to a new layer.
- With the new layer selected, press command t to rotate the layer. Press enter to accept the transformation.
- Erase parts if you want it to blend in.
- Repeat as desired!
Advanced options:
- Create more advanced geometric shapes by using the Polygonal Lasso Tool.
- Add a slight drop shadow to layer with the shape on it by clicking the FX button on the bottom of the layer panel.
- Erase parts of the new layer to have it blend in.
Photoshop Instructions:
- Duplicate background layer by pressing command j or right clicking on the layer and click "Duplicate Layer".
- Select the duplicate layer and press command t to start transforming it.
- Right click on the image and click "Flip Horizontal".
- Rotate the image and line it up with the bottom and one of the sides.
- Use the Polygonal Selection Tool to select the area you want to keep
- Add a layer mask.
- Repeat if you want the effect on both sides.
- Clean up the sky and add any details that will make it even more awesome.
Shutter Drag
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Objective: Learn how to control the on-camera flash for special effect.
What is due? 10 photos that show experimentation with rear curtain sync and shutter drag. Shutter sync is when the flash fires during a photo. If the flash fires as soon as the shutter opens, it is called front shutter sync. If the flash fires right before the shutter closes, it is called rear shutter sync. To decide between the two, ask yourself if you want the motion to be behind the movement or in front of the movement. To learn more about rear curtain sync, you can read this article here or read this one here (better examples). You can see some good examples on this website to help get your creative juices flowing. This article and video is by a photographer who uses this technique, too. Not only can you move the camera while taking the photo with a slower shutter speed, you can also zoom in or out to create some cool movement. |
Slow Shutter Speed Studio
Objective: Learn how flash duration and ambient light can effect your photos.
What is due? 5 photos that show experimentation.
In a photo studio, the flash duration is what freezes motion. If you adjust your exposure to have the ambient light, model light, or hot light light you subject, you will blur motion in a long exposure. Then trigger the strobe with the transceiver and you can freeze or highlight a specific moment of the motion.
What is due? 5 photos that show experimentation.
In a photo studio, the flash duration is what freezes motion. If you adjust your exposure to have the ambient light, model light, or hot light light you subject, you will blur motion in a long exposure. Then trigger the strobe with the transceiver and you can freeze or highlight a specific moment of the motion.
Black Light Photos
What is due? 5 photos.
Objective: Experiment with a different type of light and paint that reacts to black light.
Experiment with the black lights and paint to create interesting portraits or images. Be creative and try something new!
Objective: Experiment with a different type of light and paint that reacts to black light.
Experiment with the black lights and paint to create interesting portraits or images. Be creative and try something new!
Focus Stacking
What is due? 3 completed images.
Objective: Learn the technique of focus stacking for macro or product photography.
The video below goes over how to take the photos an combine them in Photoshop. Here are written steps for combining the photos in Photoshop:
Objective: Learn the technique of focus stacking for macro or product photography.
The video below goes over how to take the photos an combine them in Photoshop. Here are written steps for combining the photos in Photoshop:
- From Lightroom, click Photo > Edit In > Open as Layers in Photoshop. (If you aren't using Lightroom, in Photoshop, click File > Scripts > Load Files into Stack. Click Browse to find and select all of the photos. Check the box "Attempt to Automatically Align Source Images." Click ok and wait.)
- When it's done, select all the layers.
- Click Edit > Auto-Align Layers...
- Make sure Auto is selected and the two boxes under Lens Correction are not checked. Click OK and wait.
- Click Edit > Auto-Blend Layers...
- Pick the "Stack Images" option, and check the "Seamless Tones and Colors" box. Click OK and wait.
- Double check the layers masks to fix any errors by painting black or white with the mask selected.
- Edit the photo in Photoshop or save it and take it back into Lightroom!
Minimalism
What is due? 10 photos around the school.
Objective: Force yourself to look at things differently. You've all seen the school and environment around it. How can you use minimalism to show it differently?
Minimalism is a style that refers to anything that is spare or stripped to its essentials, or you can say it is characterized by extreme spareness or simplicity. For photography, the focus is on one key element and the rest of the composition is generally clutter free. Here's a good, brief article about minimalism in photography. Here is another set of good photos showing minimalism.
Objective: Force yourself to look at things differently. You've all seen the school and environment around it. How can you use minimalism to show it differently?
Minimalism is a style that refers to anything that is spare or stripped to its essentials, or you can say it is characterized by extreme spareness or simplicity. For photography, the focus is on one key element and the rest of the composition is generally clutter free. Here's a good, brief article about minimalism in photography. Here is another set of good photos showing minimalism.
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Photographic Process
What is due? 5 photos.
Objective: Become aware of your process of taking and editing photos and learn someone else's process.
You are going to be partnered with 1 other person. For your photos, your partner is going to have the camera, and you are going to tell your partner what settings to use, how to compose the photo, and what adjustments to make. The partner is only going to do what YOU tell him/her to do. Then you will switch so your partner will tell you what to do and how to do it.
When you return to class, you will do the same thing for editing. You will have your partner edit your photos. You will explain what to do to the photo, which settings to adjust, how much, and any other things you do for editing your photo. Then switch positions so you are editing your partner's photos according to their directions.
Questions:
Objective: Become aware of your process of taking and editing photos and learn someone else's process.
You are going to be partnered with 1 other person. For your photos, your partner is going to have the camera, and you are going to tell your partner what settings to use, how to compose the photo, and what adjustments to make. The partner is only going to do what YOU tell him/her to do. Then you will switch so your partner will tell you what to do and how to do it.
When you return to class, you will do the same thing for editing. You will have your partner edit your photos. You will explain what to do to the photo, which settings to adjust, how much, and any other things you do for editing your photo. Then switch positions so you are editing your partner's photos according to their directions.
Questions:
- What was difficult?
- Was anything easy?
- Did you have any "aha" moments about your process or realize that you do something unconsciously? What was it?
- Did you learn anything from your partner as you followed their directions in taking the photos or editing? What did you learn?
Prisms with Portraits
What is due? 10 portraits. 5 in indirect light and 5 in direct light.
Objective: Learn how to use a prism to create visual interest with a portrait.
A few different ways to use a prism:
A few other things to help achieve the look before is to use a fixed lens that has a wide aperture and shoot where you will get bokeh from background light sources.
I'd also like you to practice paying attention to the environment that you use in your portraits. You might think the school is boring to take photos in, but use that as a creative limitation to force you to think differently like the video below.
Objective: Learn how to use a prism to create visual interest with a portrait.
A few different ways to use a prism:
- If you use a prism in direct light, you can get the refraction (rainbow effect) of light and have those colors either shine on your model or hit the lens.
- Place the prism close to the edge of the lens so it creeps into the frame. That will give interested reflections or light patterns that come into the photo.
A few other things to help achieve the look before is to use a fixed lens that has a wide aperture and shoot where you will get bokeh from background light sources.
I'd also like you to practice paying attention to the environment that you use in your portraits. You might think the school is boring to take photos in, but use that as a creative limitation to force you to think differently like the video below.
Photo by Xing Liu.
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Photo by Xing Liu.
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Photo by Brandon Woelfel.
Block Poster
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What is due? 1 poster.
Objective: Learn how to create your own poster on a normal printer and learn more about exporting from Lightroom for print.
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Flat Lay
What is due? 2 photos.
Objective: Create two flat lay scenes to photograph. Photograph one scene with a hard light and the other scene with a soft light to learn how to control light for different effects.
Photographers are concerned about 3 things with light.
Objective: Create two flat lay scenes to photograph. Photograph one scene with a hard light and the other scene with a soft light to learn how to control light for different effects.
Photographers are concerned about 3 things with light.
- Brightness - Another word is intensity. You control the brightness of light by moving the light closer or farther away (remember the inverse square law!). Or if possible, adjust the brightness with a setting on the light.
- Color - Every type of light has a different color temperature. Try not to mix different types of lighting so you can easily correct color in Lightroom or Photoshop.
- Contrast - A light has high contrast if its rays all strike the subject from nearly the same angle and low contrast if its rays strike the subject from many different angles. A shadow with sharply defined edges is called a hard shadow. So high-contrast light sources are also called hard lights. A shadow with no clearly defined edge is called a soft shadow. So low-contrast light sources are also called soft lights. You control the contrast by the size of light. A small light source is always a hard light source and most large light sources are soft ones.
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The last half of this video is great as she talks about setting it up. The first part talks a bit about light, which is also good.
Typography
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What is due? 2 images.
Objective: To experiment with typography and layer masks in Photoshop to have the text interact and flow with the elements in the still life image. Use 2 of the images form the Still Life assignment to complete this assignment. You will learn (relearn) how to use layer masks, install fonts, and control type in Photoshop to create two interesting images. Fonts have moods and styles. Use them to match your scene. You can download free fonts from fonts.google.com or dafont.com. Photoshop Tips/Instructions: Masking Text
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Shape & Form
What is due? 10 photos.
Objective: Experiment using the plastic to show shapes and form. This eliminates color and texture and places the focus of the photograph on the shape of the subject. This will also force you to concentrate on how to have the light help you shape the subject.
Objective: Experiment using the plastic to show shapes and form. This eliminates color and texture and places the focus of the photograph on the shape of the subject. This will also force you to concentrate on how to have the light help you shape the subject.
Creativity Exercise 1
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What is due? 9 photos
Objective: Practice creativity by photographing the same object as your group. You will each take turns taking one photograph but you may NOT take the same photo that anyone else has in the group. Each photo has to be different. You may not use another person or yourself in the photos. Use the provided objects as your subjects. |
Sparkly Background/Product Photos
What is due? 10 photos
Objective: Practice creating an interesting product photo by using common items.
Use the provided tinfoil and your cell phones to create interesting photos. You can use your cell phone for an interesting reflective surface and use another cell phone as the light source for the small products and background. Crumple up the tinfoil to create bokeh as well as an interesting background. How far away should the tinfoil be? Where should you shine the light? What settings blur out the background the best? Experiment and try new things.
Objective: Practice creating an interesting product photo by using common items.
Use the provided tinfoil and your cell phones to create interesting photos. You can use your cell phone for an interesting reflective surface and use another cell phone as the light source for the small products and background. Crumple up the tinfoil to create bokeh as well as an interesting background. How far away should the tinfoil be? Where should you shine the light? What settings blur out the background the best? Experiment and try new things.
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Still Life Light Painting Composite
What is due? 1 completed image
Objective: Learn about light painting a scene and how to blend the images together in Photoshop.
Key points to remember:
Objective: Learn about light painting a scene and how to blend the images together in Photoshop.
Key points to remember:
- Auto focus on the subject and then switch to manual focus so focus doesn't change between photos.
- Use a long shutter speed (maybe around 2-4 seconds).
- Set your f-stop around F/11 and ISO 100 so you have a black photo with a long shutter speed.
- Don't get the light between the part of the subject you are lighting and the camera.
- Pay attention to the highlights and shadows after you take the photo. Do you like them or want them little different? Should you fill in the shadows? What kind of lighting should you add to make your scene the best? A backlight, side light, colorful light, soft light, or hard light?
- The longer you let the light shine on a specific spot, the brighter it will be in the photo.
- In Photoshop, get all the images open in the same document.
- Select all the layers, then click Edit > Auto Align Layers.
- Change the blending modes from all the layers to Lighten except for the background layer.
- Add a layer mask and paint black to hide parts of a layer you don't want visible, like light streaks or light up sections you don't like.
Below is an example video on taking the photos - the only difference between the video and what we are doing is using a slower shutter speed so you have a few seconds to paint the light (we don't have bright LED lights like him!).
Below is an example video that goes over the editing steps but one difference in how we edit - change the layer's blend mode to Lighten. That will leave you with just the lighter parts of the image compared to layers beneath.
Automotive Light Painting
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What is due? 1 completed image.
Objective: Learn about light painting an object (car) and how to blend the images together in Photoshop. The video below has the instructions on setting up the camera, taking the photos, painting the car, and editing the photos in Photoshop. Key points to remember:
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Creativity Exercise 2 - Stuck for 5
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What is due? 20 photos
Objective: Practice seeing things differently and practice being creative when you are limited in the space you have. You will be placed in a location with limited space (i.e. stairwell or space between the doors). You cannot take selfies, each photo has to be different, and you cannot move out of the location until the time ends. Time yourself and practice challenging yourself to see things differently. |
Studio Portraits
What is due? 5 photos.
Objective: Experiment with studio lights (at least 2!) to try to get different results by changing light modifiers, light intensity, light distance, light angle, and posing to convey a feeling, story, or intriguing portrait about the person.
This can be done using the studio at school during class or after school, OR it can also be done at home. Artificial lighting should be utilized in some way.
I want you to experiment with studio lighting to replicate lighting that you see in studio portraits that you like. Remember, many of the portraits start with the basic one light setups (i.e. butterfly, loop, rembrandt, and split lighting) and then add a fill light or back light. Other basic lighting styles are broad lighting or short lighting, which refers to which cheek is towards the camera. If the cheek that is more visible to the camera is the bright one, then it's called broad lighting. If the cheek that is more visible to the camera is more shadowed, it's called short lighting.
Things to consider:
*This cannot be done as a group project! Each student must create their own original idea from start to finish!
Watch the three rules of lighting to understand how light works.
Objective: Experiment with studio lights (at least 2!) to try to get different results by changing light modifiers, light intensity, light distance, light angle, and posing to convey a feeling, story, or intriguing portrait about the person.
This can be done using the studio at school during class or after school, OR it can also be done at home. Artificial lighting should be utilized in some way.
I want you to experiment with studio lighting to replicate lighting that you see in studio portraits that you like. Remember, many of the portraits start with the basic one light setups (i.e. butterfly, loop, rembrandt, and split lighting) and then add a fill light or back light. Other basic lighting styles are broad lighting or short lighting, which refers to which cheek is towards the camera. If the cheek that is more visible to the camera is the bright one, then it's called broad lighting. If the cheek that is more visible to the camera is more shadowed, it's called short lighting.
Things to consider:
- Backdrop
- Lighting
- Wardrobe
*This cannot be done as a group project! Each student must create their own original idea from start to finish!
Watch the three rules of lighting to understand how light works.
Example of Butterfly Lighting
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Example of Loop Lighting
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Example of Rembrandt Lighting
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Example of Split Lighting
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Posing & Fill Light
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What is due? 5 photos
Objective: Learn how to use fill light in the studio and practice posing. The purpose of the fill light is to soften the shadows from the key light. The ways to adjust the brightness of the fill light can be the distance from the light to the subject or change the intensity of the flash. If the fill light is too bright, it will flatten out the portrait. If the fill light is not bright enough, you won't see any change. Typically, the fill light is at a 90 degree angle from the key light, but you may experiment to achieve the look you want. I also want you to practice posing. Pick one of the following to practice with while you pose:
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Dispersion Effect
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What is due? 1 photo.
Objective: Practice using layer masks and brushes in Photoshop. The video has the instructions on the bottom. Be creative and add your own twist to this effect by using different types of Photoshop brushes or putting separate elements into the image. 
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Frequency Separation
What is due? 4 images.
Objective: Learn how to use frequency separation for advanced retouching.
To get your image set up for frequency separation you will have to make 2 copies of your background layer. One of these copies will be for your low frequency (skin) and one will be for your high frequency (texture).
1. First apply a Gaussian Blur to the lower (low frequency) layer. Choose a radius that blurs out the skin texture, but don't go too far as to make the face unrecognizable.
2. Next choose your high frequency layer and go to Image, Apply Image. Here you will want to se the Layer: to the low frequency layer. For blending choose Subtract and for Scale: 2, Offset: 128. These will be your settings every time, no need to change them. Now you should have one layer with a blur (low frequency) and a layer above it that looks mostly gray (high frequency).
Objective: Learn how to use frequency separation for advanced retouching.
To get your image set up for frequency separation you will have to make 2 copies of your background layer. One of these copies will be for your low frequency (skin) and one will be for your high frequency (texture).
1. First apply a Gaussian Blur to the lower (low frequency) layer. Choose a radius that blurs out the skin texture, but don't go too far as to make the face unrecognizable.
2. Next choose your high frequency layer and go to Image, Apply Image. Here you will want to se the Layer: to the low frequency layer. For blending choose Subtract and for Scale: 2, Offset: 128. These will be your settings every time, no need to change them. Now you should have one layer with a blur (low frequency) and a layer above it that looks mostly gray (high frequency).
3. Select the high frequency layer and change the blending mode to "Linear Light". Your image should now look identical to the image before you started the process.
To correct the underlying color (skin) choose an area with the lasso tool. I suggest feathering the selection to make it look more realistic. Use Q for Quick Mask as a quick way to see what your selection looks like.
4. After you have made your selection choose the low frequency (blurred) layer and apply a Gaussian Blur in the selection (Click Filter > Blur > Gaussian Blur). Choose a radius high enough to blend the tones together. Repeat this process over different areas of the portrait to smooth the skin tones. Because the texture is on a different layer, it should stay intact during this entire process.
5. If you need to correct texture, I recommend waiting until after you do the tone. Select the high frequency layer and choose the Clone Stamp Tool. In the Clone Stamp Tool settings be sure to hit Sample: Current Layer. This will make sure you are just using the texture and not sampling anything else. Then on your high frequency layer sample good skin texture using ALT/OPTION and then paint over "bad" skin texture. This will work very well for stray hairs, acne, wrinkles and other small blemishes.
To correct the underlying color (skin) choose an area with the lasso tool. I suggest feathering the selection to make it look more realistic. Use Q for Quick Mask as a quick way to see what your selection looks like.
4. After you have made your selection choose the low frequency (blurred) layer and apply a Gaussian Blur in the selection (Click Filter > Blur > Gaussian Blur). Choose a radius high enough to blend the tones together. Repeat this process over different areas of the portrait to smooth the skin tones. Because the texture is on a different layer, it should stay intact during this entire process.
5. If you need to correct texture, I recommend waiting until after you do the tone. Select the high frequency layer and choose the Clone Stamp Tool. In the Clone Stamp Tool settings be sure to hit Sample: Current Layer. This will make sure you are just using the texture and not sampling anything else. Then on your high frequency layer sample good skin texture using ALT/OPTION and then paint over "bad" skin texture. This will work very well for stray hairs, acne, wrinkles and other small blemishes.
Dodge & Burning Portraits
What is due? 1 practice photo (provided), and 1 photo from your studio portraits.
Objective: Learn how to dodge (lighten) and burn (darken) locally and globaly to enhance portriats.
Dodge and burn can be subdivided into local (think micro, pixel-level) and global (think macro, sculpting & contouring). Each subdivision has its own goals and challenges. When you're performing local D&B you normally determine the area that needs corrections while being zoomed out. Then you zoom in very close and even out the values of different parts of the skin to achieve an even surface look. Global D&B, or sculpting & contouring, your goal is to add volume and more dimensionality into our 2-dimensional image. Contouring is the art of expertly highlighting and shadowing the correct spots on the face in order to accentuate and bring out the subject's best look.
Photoshop steps:
Do you want to get even better are dodging and burning portraits? Read these articles:
https://fstoppers.com/post-production/ultimate-guide-dodge-burn-technique-part-1-fundamentals-9261
https://fstoppers.com/education/ultimate-guide-dodge-burn-technique-part-2-setting-good-start-9262
https://fstoppers.com/post-production/ultimate-guide-dodge-burn-technique-part-3-curves-setup-more-9281
http://petapixel.com/2013/04/27/quick-tutorial-on-dodging-and-burning-using-curves-in-photoshop/
https://fstoppers.com/editorial/makeup-tip-i-wish-someone-had-told-me-when-i-started-photography-30897
http://scottkelby.com/its-guest-blog-wednesday-featuring-michael-woloszynowicz/
Objective: Learn how to dodge (lighten) and burn (darken) locally and globaly to enhance portriats.
Dodge and burn can be subdivided into local (think micro, pixel-level) and global (think macro, sculpting & contouring). Each subdivision has its own goals and challenges. When you're performing local D&B you normally determine the area that needs corrections while being zoomed out. Then you zoom in very close and even out the values of different parts of the skin to achieve an even surface look. Global D&B, or sculpting & contouring, your goal is to add volume and more dimensionality into our 2-dimensional image. Contouring is the art of expertly highlighting and shadowing the correct spots on the face in order to accentuate and bring out the subject's best look.
Photoshop steps:
- After you've cleaned up the skin with your basic retouching tools (such as Clone Stamp tool, Healing Brush, Spot Healing Brush, etc.) and possibly some Frequency Separation add two Curves Adjustment layers on top of your Photshop layer stack.
- Pull one Curve slightly up (brighten midtones), name this layer "Dodge" and invert the layer mask color to black (Command (CTRL) + I).
- Name the other Curves Adjustment layer "Burn", pull the Curve down (darken midtones) and invert the layer mask color to black (Command (CTRL) + I).
- Use your paint brush and have white as your foreground color. You will work with soft brushes set to a very low opacity or flow. Paint on the dodge layer to brighten parts on the image and paint on the burn layer to darken parts of the layer.
- Build the effect up gradually! When you're finished, it's a good idea to lower the opacity of the layers because you probably did too much.
Do you want to get even better are dodging and burning portraits? Read these articles:
https://fstoppers.com/post-production/ultimate-guide-dodge-burn-technique-part-1-fundamentals-9261
https://fstoppers.com/education/ultimate-guide-dodge-burn-technique-part-2-setting-good-start-9262
https://fstoppers.com/post-production/ultimate-guide-dodge-burn-technique-part-3-curves-setup-more-9281
http://petapixel.com/2013/04/27/quick-tutorial-on-dodging-and-burning-using-curves-in-photoshop/
https://fstoppers.com/editorial/makeup-tip-i-wish-someone-had-told-me-when-i-started-photography-30897
http://scottkelby.com/its-guest-blog-wednesday-featuring-michael-woloszynowicz/
by Elena Jasic
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Local D&B is normally applied in tiny dots and lines, while the global D&B will be represented by large areas painted with a soft brush. Example by Jesús Vilca.
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Contouring example: lighten white areas and darken the brown areas.
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Caricature Effect
What is due? 1 image.
Objective: Create an interesting bobblehead image using a studio portrait and Photoshop and practice following written directions (tutorial).
This tutorial involves advanced selections, layers, layer masks, and sharpening. Find the steps for the tutorial here:
https://blog.spoongraphics.co.uk/tutorials/create-funny-caricature-effect-adobe-photoshop
Objective: Create an interesting bobblehead image using a studio portrait and Photoshop and practice following written directions (tutorial).
This tutorial involves advanced selections, layers, layer masks, and sharpening. Find the steps for the tutorial here:
https://blog.spoongraphics.co.uk/tutorials/create-funny-caricature-effect-adobe-photoshop
Bokeh
What is due? 10 photos
Objective: Learn how to create custom bokeh and take great photos with bokeh in the background. Bokeh is out of focus light in a photograph. The shape of the bokeh is determined by the shape of the aperture. So you can create different shaped bokeh by cutting paper and covering the lens with it to create a new aperture. It is also very helpful to have a fast lens (a lens which has a very large aperture like f1.8). Remember the relationship between how close the subject is and how far away the background is to create a shallow depth of field. |
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Camera Hacks
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What is due? 10 photos
Objective: Learn and experiment with different ways to create flare or visual interest in a photo. Here are a few ideas:
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Brenizer Method
What is due? 2 images
Objective: Learn how to create a specialized panorama to achieve a shallow depth of field with a wide angle of view.
The Brenizer Method is a way to create a specialized image with a shallow depth of field but wide angle of view, and it was popularized (though not created) by the photographer Ryan Brenizer. Similar to a panorama, Brenizer Method portraits consist of several photos stitched together to make one image. The objective of the Brenizer Method is to achieve a very shallow depth of field with a lot of background blur and bokeh. This shallow depth of field is only possible through layering images together.
To achieve this you need to use all manual settings - white balance, shutter speed, aperture, and ISO. Most importantly, though, your focus needs to be on manual or stay locked throughout the process. You will be stitching the images together in Photoshop, and it will not work if the camera automatically changes the focus for each shot. It will also look bad if the white balance changes between each shot, too. We wouldn't want a bad looking photo now, would we?
When taking the photos, I would start from left to right, top to bottom - similar to the way a book is read. Make sure you overlap each photo by at least a 1/3 to ensure Photoshop knows how to stitch the photo together. If taking portraits, make sure that the subject's face isn't cut off in a photo, and the model keeps the same pose for the entire sequence. Ensure the exposure, white balance, and focus remain the same throughout the process.
Option 1 (Slower for computer to process)
After importing the photos into Lightroom, select the series in the film strip and then click Photo > Edit In > Merge to Panorama in Photoshop. Leave the settings in the Photomerge dialogue box to what it's set (Auto, and Blend Images together checked) and click Ok. Wait. Then crop and edit either in Photoshop or Lightroom.
Option 2 (Faster for computer to process)
If the photos are in Lightroom, export them as JPGs. Then in Photoshop, Click File > Automate > Photomerge and leave the settings as they are. Either click Browse to select images from the computer or click Add Open Files if images are already open in Photoshop. Click Ok. Wait. Crop and clean up in Photoshop with content aware tools. Edit in either Photoshop or Lightroom.
Objective: Learn how to create a specialized panorama to achieve a shallow depth of field with a wide angle of view.
The Brenizer Method is a way to create a specialized image with a shallow depth of field but wide angle of view, and it was popularized (though not created) by the photographer Ryan Brenizer. Similar to a panorama, Brenizer Method portraits consist of several photos stitched together to make one image. The objective of the Brenizer Method is to achieve a very shallow depth of field with a lot of background blur and bokeh. This shallow depth of field is only possible through layering images together.
To achieve this you need to use all manual settings - white balance, shutter speed, aperture, and ISO. Most importantly, though, your focus needs to be on manual or stay locked throughout the process. You will be stitching the images together in Photoshop, and it will not work if the camera automatically changes the focus for each shot. It will also look bad if the white balance changes between each shot, too. We wouldn't want a bad looking photo now, would we?
When taking the photos, I would start from left to right, top to bottom - similar to the way a book is read. Make sure you overlap each photo by at least a 1/3 to ensure Photoshop knows how to stitch the photo together. If taking portraits, make sure that the subject's face isn't cut off in a photo, and the model keeps the same pose for the entire sequence. Ensure the exposure, white balance, and focus remain the same throughout the process.
Option 1 (Slower for computer to process)
After importing the photos into Lightroom, select the series in the film strip and then click Photo > Edit In > Merge to Panorama in Photoshop. Leave the settings in the Photomerge dialogue box to what it's set (Auto, and Blend Images together checked) and click Ok. Wait. Then crop and edit either in Photoshop or Lightroom.
Option 2 (Faster for computer to process)
If the photos are in Lightroom, export them as JPGs. Then in Photoshop, Click File > Automate > Photomerge and leave the settings as they are. Either click Browse to select images from the computer or click Add Open Files if images are already open in Photoshop. Click Ok. Wait. Crop and clean up in Photoshop with content aware tools. Edit in either Photoshop or Lightroom.
Creativity Exercise 3 - Composition
What is due? 30 photos
Objective: Practice composition by using only one subject.
(Inspired by this article on Fstoppers by Jonathan Castner.)
"Here's the challenge: you, the photographer, pick one subject. It needs to be bigger than your fist. Then you pick your spot to stay - you will stay in that spot for all of the photos. You can walk around the subject, move the subject higher or lower, but you cannot move to a completely different spot.
Got it? Good. Now following those rules take 30 completely different compositions of your subject. =)
The first 10 frames will come quickly: these are the frames that you are most familiar with making. These are your “go to” shots. After that you will most likely find a couple more and then completely hit a wall around frame 18 or so. You will only see the frames that you have already shot. You won’t see anything new or different. Go back through your “take” and make sure.
Ok then, now what?
Well don’t give up, keep going as this is where the magic happens. What you are trying to do here is get past your established notions of what “compositions” are. This is all about breaking out of your “style” and compositional habits. Over the years you have programed yourself into thinking “I shoot this sort of thing and this is how it’s supposed to look: this part goes here, this part goes there….” Nope, all wrong. Remember that there is no visual rule book to follow. Instead you are seeing the world based on what you have told yourself over the years. That isn’t worth consideration let alone exploration.
When you are done frustratedly screaming to the heavens ask yourself, “What do I take for granted about my subject right now, and how do I feel required to show it?” That’s the key. Really dig into that.
When you finally crawl over the mental wall you will start to see other, previously hidden to you, compositions. They will come. You will find that certain ways of composing may look good but feel odd. Heck, some will just be odd. You will however find things that you never would have considered. Some will prove to be useful to you and your work while others less so. Regardless, realize that you have opened a huge box of new and exciting visual options. When you get to that point you will find that there are limitless ways to compose a single subject even from a fixed position and angle of view."
Objective: Practice composition by using only one subject.
(Inspired by this article on Fstoppers by Jonathan Castner.)
"Here's the challenge: you, the photographer, pick one subject. It needs to be bigger than your fist. Then you pick your spot to stay - you will stay in that spot for all of the photos. You can walk around the subject, move the subject higher or lower, but you cannot move to a completely different spot.
Got it? Good. Now following those rules take 30 completely different compositions of your subject. =)
The first 10 frames will come quickly: these are the frames that you are most familiar with making. These are your “go to” shots. After that you will most likely find a couple more and then completely hit a wall around frame 18 or so. You will only see the frames that you have already shot. You won’t see anything new or different. Go back through your “take” and make sure.
Ok then, now what?
Well don’t give up, keep going as this is where the magic happens. What you are trying to do here is get past your established notions of what “compositions” are. This is all about breaking out of your “style” and compositional habits. Over the years you have programed yourself into thinking “I shoot this sort of thing and this is how it’s supposed to look: this part goes here, this part goes there….” Nope, all wrong. Remember that there is no visual rule book to follow. Instead you are seeing the world based on what you have told yourself over the years. That isn’t worth consideration let alone exploration.
When you are done frustratedly screaming to the heavens ask yourself, “What do I take for granted about my subject right now, and how do I feel required to show it?” That’s the key. Really dig into that.
When you finally crawl over the mental wall you will start to see other, previously hidden to you, compositions. They will come. You will find that certain ways of composing may look good but feel odd. Heck, some will just be odd. You will however find things that you never would have considered. Some will prove to be useful to you and your work while others less so. Regardless, realize that you have opened a huge box of new and exciting visual options. When you get to that point you will find that there are limitless ways to compose a single subject even from a fixed position and angle of view."
Relationship
Objective: Learn how to show think creatively about how to show the theme "relationship" through photos in a difficult environment (school).
What is due? 10 photos. Each photo shows a different type of relationship, such as love, friendship, nature and human, pet and owner, hands and objects, or something else creative.
Use different techniques that you have learned to show the theme "relationship" in an interesting way. The 10 photos need to be about different types of relationships.
What is due? 10 photos. Each photo shows a different type of relationship, such as love, friendship, nature and human, pet and owner, hands and objects, or something else creative.
Use different techniques that you have learned to show the theme "relationship" in an interesting way. The 10 photos need to be about different types of relationships.
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Pixel Stretching
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What is due? 5 photos.
Objective: Learn how to investigate the construction of a digital image through creative means. The results of this effect highlight the nuances of a digital image and explore the action of altering photographs through non-traditional means. Pixel stretching is one way to investigate the construction of a digital image through creative means. The process involves selecting a single row or column of pixels and stretching them out over an image to create a warped, surrealistic visual effect. Photoshop Instructions:
Tutorial found at https://digital-photography-school.com/pixel-stretching-photoshop/ Here's a second tutorial that can give you a cool look: https://create.adobe.com/2019/8/6/how_to_make_a_stretc.html |
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Food Photography
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Click to set custom HTML
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What is due? 10 food images.
Objective: Learn about and practice balance when photographing food. You need to practice using balance as you photograph some food. If you have a large item of food on one side of the image, how do you balance it out? What other things, elements, colors, or patterns can you use to make the image balanced? Consider taking flat lay photos (camera pointed straight down) as you practice balance, and then you can also take 3/4 shots or shoot straight across the food. Be conscience of the background so there aren't any distracting elements. If you use direct natural light, the texture will be pronounced because the shadows are harsh. Or you can use indirect light for softer shadows. Use a window that the sun doesn't shine through, or use something to diffuse the light (reflector or thin paper). |
HDR
What is due? 3 finished images. 1 image indoors with a window or glass door, 1 image outside with sky, and 1 image of your choice.
Objective: Learn how to bracket exposure and combine images in Lightroom / Photoshop.
Use a tripod so the camera doesn't move between the exposures. Set the camera to shoot different exposures with AEB. You will expose the first photo for the mid tones. If you set the camera to use a 2 second delay, then you only have to press the shutter speed once and the camera will automatically take the 3 photos to bracket your exposure.
To create an HDR image in Lightroom, select the 3 images to make the HDR image and click Photo > Photo Merge > HDR. Then make sure Auto Align and Auto Settings are checked. If there was a tree, bush, or something else that might have moved, select a Deghost Amount that relates to the amount of movement. And then click Merge and wait.
Editing tips for architecture/buildings:
Objective: Learn how to bracket exposure and combine images in Lightroom / Photoshop.
Use a tripod so the camera doesn't move between the exposures. Set the camera to shoot different exposures with AEB. You will expose the first photo for the mid tones. If you set the camera to use a 2 second delay, then you only have to press the shutter speed once and the camera will automatically take the 3 photos to bracket your exposure.
To create an HDR image in Lightroom, select the 3 images to make the HDR image and click Photo > Photo Merge > HDR. Then make sure Auto Align and Auto Settings are checked. If there was a tree, bush, or something else that might have moved, select a Deghost Amount that relates to the amount of movement. And then click Merge and wait.
Editing tips for architecture/buildings:
- In Lens Correction check the Enable Profile Corrections and Chromatic Abberation
- In the Transform Pane try the different options (I generally use Vertical) to get the lines of the building straight.
- Correct white balance and edit everything else to taste.
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Light, Lines, & Shadows
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Due: 10 unique photos.
Objective: Explore the characteristics of light while showing lines and shadows. The purpose of this assignment is to help you see the a characteristic of light (contrast - hard and soft), while taking abstract photos of paper to create interesting lines and shadows. Experiment with different placement of the light, the contrast of light, and placement of paper to create interesting abstract photos of lines. 
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Shape & Form - Sheets
Due: 10 unique photos.
Objective: Explore line, shadow, and texture as you look at how light describes an object.
This assignment is adapted from Dorothea Lange who gave this assignment to her photography students. The original concept is to use an unmade bed, but we don't have those at school. So take the sheets and clothe backdrops to create your own unmade bed. Make sure to use natural light by windows or glass doors - DO NOT USE ARTIFICIAL LIGHT.
Objective: Explore line, shadow, and texture as you look at how light describes an object.
This assignment is adapted from Dorothea Lange who gave this assignment to her photography students. The original concept is to use an unmade bed, but we don't have those at school. So take the sheets and clothe backdrops to create your own unmade bed. Make sure to use natural light by windows or glass doors - DO NOT USE ARTIFICIAL LIGHT.
Shape & Form - Water
What is due? 5 photos.
Objective: Explore the shape and form of water by controlling shutter speed.
Use the cup to experiment throwing water and photograph it with a fast shutter speed to create interesting forms and shapes. See Shinichi Maruyama for inspiration.
Objective: Explore the shape and form of water by controlling shutter speed.
Use the cup to experiment throwing water and photograph it with a fast shutter speed to create interesting forms and shapes. See Shinichi Maruyama for inspiration.
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Cinemagraph
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What is due? 1 cinema graph.
Objective: Learn how to create a cinemagraph to create a still image with a small repeating motion. You'll need a tripod and a camera with video capabilities. Then follow the instructions found in the video. Examples: http://allthatsinteresting.com/cinemagraph-gifs http://photodoto.com/cinemagraph/ https://theultralinx.com/2011/08/30-amazing-cinemagraphs-gif-photography/ |
