Monday, May 2, 2011
Wednesday, April 27, 2011
Under My Bed.
By: Sarah Takacs
I have been using the space under my bed to store many different items - mainly arts and crafts supplies; it's super cluttered.
I have been using the space under my bed to store many different items - mainly arts and crafts supplies; it's super cluttered.
Monday, April 25, 2011
under my bed
Monday, April 18, 2011
B&W conversion write-up
Here is the link to the write up in color hosted by Google Docs.
How to Convert your Color Image to Black and White using
How to Convert your Color Image to Black and White using
Adobe Photoshop Elements 3 & 4 or Photoshop 6, 7, 8, & 9
Version 1.0 05/17/06
Seder Burns
General notes:
•First, create the best color image that you can from your image. See Figure 1
• Duplicate the color image numerous times. As you duplicate the file, take the time to
name the new files by the various techniques you are going to apply to each.
•Open up the histogram window and make note of how the tone changes between the
various conversion methods.
•Because the overall tone of your image changes once you convert it to black and white,
you will almost certainly need to perform additional tonal editing.
I have decided to group these various means by the programs that can perform them.
The following five methods work with all flavors of Photoshop
and Photoshop Elements that support Camera Raw without
the need for additional plug-ins.
See Figure 1
1. Conver to Grayscale Mode
Perphaps the most widely used method is to simply convert your image to Black and
White via the Grayscale Mode. Just go to the main menu and select Image > Mode >
Grayscale.
This will convert your image to black and white by desaturating each of the Red,
Green, and Blue channels and then averaging them together based on a predetermined
mixture which is designed to mimic traditional silver based black and white films.
2. Desature the image
From the main menu, simply go to Enhance > Adjust Color > Remove Color.
This simply removes the color without affecting the tonality of the image.
3. Gradient Map
This remaps the tones of your image to whatever color gradient you select. From the
Main menu select Layer > New Adjustment Layer > Gradient Map.
You will get a dialog box that allows you to rename it if you want. Otherwise, hit the
OK button.
Select the Black to White Gradient and then hit the OK button.
4. Double Hue/Saturation Adjustment Layer Method
This is definitely the most advanced method of black and white conversion that all
versions of Elements supports without the addition of any plugins.
First, pull up your Layer Palette. Then create a new Hue/Saturation adjustment layer
by clicking on the little circle that is half white and half black.
This will create a new Hue/Saturation Adjustment layer. Don’t make any adjustments
to this layer. Just hit the OK button. Then from the drop down menu, change the
blending mode from Normal to Color. Now create an additional Hue/Saturation
Adjustment layer. Drag the Saturation slider all the way to the left. Then hit the OK
button. Then open up the first Hue/Saturation Adjustment layer that you created. By
moving the Hue slider, you can change the overall color relationship of the image
before the second Hue/Saturation Adjustment layer removes the color. Thus, you can
affect the overall tonal relationship of the image by adjusting the Hue slider.
For even greater control, you can even work on different color ranges separately! This
is an extremely powerful and versatile means to convert an image to black and white.
5. If you shot the image as a RAW file (which you should always do if your camera
supports RAW capture), you can convert your image to Black and White within Camera
RAW. Simply slide the Saturation slider all the way to the left.
Notice the change in the histogram. Modify your Exposure, Highlight, Brightness, and
Contrast as desired.
The following Channel Mixer method work with all flavors of
Photoshop and Photoshop Elements 1, 2, & 3 (but not 4) that
have the Earthbound Light Effects for Photoshop Elements
plug-in. It is a free plug-in that greatly enhances the
functionality of Elements. It is available for as a free download
at http://www.earthboundlight.com/phototips/photoshop-
elements-curves.html.
Create a new Channel Mixer adjustment layer. The way you do this differs depending on
whether you are using Photoshop or Elements with the plug-in. In either case, you will
get the Channel Mixer dialog box.
Be sure to select the Monochrome option if it is not already selected. The default starting
point is 100% Red. The Channel Mixer works similar to the Grayscale Mode in that all
three of the channels are desaturated. However, unlike the Grayscale Mode method, you
can decide how much of each channel is utilized. With the default setting of 100% Red,
only information from the Red Channel is utilized.
Red Channel at 100%
Green Channel at 100%
Blue Channel at 100%
This generally leads to a very high contrast image in which flesh tones will appear very
light and blue skys will appear very dark. You should also see how the image will look
with Green at 100% and then Blue at 100%. The key to using this method is to keep the
totals adding up to 100% (or very close to it). You may find that you like certain
attributes of the image in both the Red and the Green Channels. So you might try 50%
Red and 50% Green. The whole idea here is that you can mix the channels until you get
the desired result. For a radical effect, try introducing negative values. The image below
is set at -100% Red and 200% Green. Notice that the values still total 100%.
The following LAB method work with all flavors of Photoshop.
So far, I haven’t found a means to achieve the same thing in
Elements.
This method consists of converting the image from RGB Mode to LAB Mode. LAB
Mode is another color model. It separates the tonal information from the color
information. This method simply preserves the tonal information while discarding the
color information.
From the Main Menu, select Image > Mode > Lab Color.
Then open up your Channel palette. Click on the Lightness Channel. It will become the
only active Channel. Then, from the main menu select Image > Mode > Grayscale. You
will then have a black and white image in Grayscale Mode.
The disadvantage of the LAB color method is that you can’t control the relationship of
tones based on color. The advantage is that the image features exceptionally clean
gradations of tone. It also creates a black and white conversion that is unique from all the
other methods.
Evaluating your Conversion?
Wednesday, April 13, 2011
Tuesday, April 12, 2011
Monday, April 11, 2011
Re-cap of where we are at
Last Monday, I informed the class that I wouldn't be holding class on Wednesday as I attended a conference.
At this point, your series of 4 night shots should be completed.
You were also supposed to have shot at least 4 images that you thing would make good black and white images. We will be using these in class today to discuss how to convert a color image into a black and white image in preparation for the Secrets Project which we will discuss today.
At this point, your series of 4 night shots should be completed.
You were also supposed to have shot at least 4 images that you thing would make good black and white images. We will be using these in class today to discuss how to convert a color image into a black and white image in preparation for the Secrets Project which we will discuss today.
Final Exam Session
We will conducting our final exam during our scheduled final exam session. If you fail to show up for class, you will not receive any credit for the final project.
5:00-7:00
Monday May 2nd
Monday May 2nd
Monday, March 28, 2011
Night Photographers
Excellent Aperture web feature on Gregory Crewdson. His work is amazing. I thought my process of shooting my Three Minute Series was complex, but his process makes me feel inadequate.
Equally fantastic is the night series by Jan Staller. Check out the Frontier New York series. Like Crewdson, they make images as opposed to taking them. Unlike Crewdson, he doesn't phsically construct the scene. Rather, he explored the familiar areas around him and photographed them in a manner which makes them seem simultaneously familiar and unfamiliar. One of the significant things about Staller is the seeming insignificance of what he photographs. He doesn't seek out the most obvious chooses. There are no photos of the Statute of Liberty or Times Square. In most of his photos, there aren't people. This adds to the otherworldliness of his photos. The color is amazing. Most of his images contain large elements of neutrality to which the colors offer a counter point.
Here is a link to a guy who blogs about night photography. There are some links to some really good work from here.
2003 Documentary on Night Photography - FYI-All film work as it was shot in 2003.
Nice videos about digital night photography by Harold Davis. Audio quality is poor in the first one. Terrible in the second one.
Equally fantastic is the night series by Jan Staller. Check out the Frontier New York series. Like Crewdson, they make images as opposed to taking them. Unlike Crewdson, he doesn't phsically construct the scene. Rather, he explored the familiar areas around him and photographed them in a manner which makes them seem simultaneously familiar and unfamiliar. One of the significant things about Staller is the seeming insignificance of what he photographs. He doesn't seek out the most obvious chooses. There are no photos of the Statute of Liberty or Times Square. In most of his photos, there aren't people. This adds to the otherworldliness of his photos. The color is amazing. Most of his images contain large elements of neutrality to which the colors offer a counter point.
Here is a link to a guy who blogs about night photography. There are some links to some really good work from here.
2003 Documentary on Night Photography - FYI-All film work as it was shot in 2003.
Nice videos about digital night photography by Harold Davis. Audio quality is poor in the first one. Terrible in the second one.
A primer on night photography
In a much earlier blog posting from 2007, I talked about shooting Sunsets. I am currently teaching a Digital Photography course and the next project involved night photography. So, for their benefit and yours, here is some things to keep in mind when shooting at night:
-If you are including the moon, sunset, or sunrise, consider where it will be at the time of your shoot. OF course, the sun rises in the east and sets in the west (changes a little throughout the year, but not much). So, you will get a vastly different photo when shooting sunrises to the east or sunsets to the west.
-It is going to be very dark. Bring a flashlight. This will help you see your camera as well as see where you are going.
-You must use a tripod as exposure times will be long
-Use a remote release to trigger your camera. Or use the self timer if the timing of the shutter release isn't critical. You may want to invest in a cable release which has a timer function. This will allow you to use a shutter speed longer than what the camera otherwise offers. For example, the longest shutter speed my Nikon D300 offers is 30 seconds. If I need a shutter speed longer than that, I have to use the Bulb setting. In that mode, you have to hold the shutter release button down to keep the shutter open. This is not conducive to sharp photos. Higher end cable releases have timer functions built in that will allow you to set longer times and hold them with a single press of the cable release button.
-Use the mirror lock up or anti-shock feature of your camera. This will help insure that the photo won't be soft due to vibrations from the mirror (Only applies to those using DSLRs as compact digital cameras don't make use of a mirror).
-Turn on long exposure noise reduction if your camera has it. Most DSLRs and some compact cameras do. May have dig through the custom menus to activate it. The problem with this is your longer exposures will take a very long time to complete. Let’s say you take a 30 second exposure. First the camera takes the normal shot, and then it takes another 30 second shot in which the shutter doesn’t open. It takes the resulting noise pattern and subtracts it from the original exposure. It is very effective, but it really slows shooting down. Not a big deal when it is 80 degrees out, but it really stinks when it is 25 degrees out.
-Bring your camera’s instruction manual. You should always carry it with you anyways. If you are using a seldom used feature like long exposure noise reduction, then it is likely that you will have to look up how to activate it.
-Use your cameras lowest ISO. This assumes that you can use a very slow shutter speed as needed. For most of you this will require that you use the bulb mode in which the shutter will remain open as long as you keep the shutter release button pressed. Many of the remote releases have a provision to lock the button down until you release it. If your camera doesn’t have a slow enough shutter speed, then you may have to increase the ISO in order to obtain a correct exposure even when the aperture is lens all the way open.
-You may have to manually focus. All autofocus cameras require a certain light level to autofocus. If you are setting up in the dark, you will have precious little (if any light) so you may have to manually focus. If you have a DSLR, you can set the lens on infinity. You should note that the lens will likely allow you to focus past infinity. Past infinity?!? This is to take into account the expansion of the lens due to different weather, humidity, and pressure. So, you make have to take a few photos to insure that it is really set at infinity. Almost all compact digital cameras have a manual focus provision that entails selecting a distance from a distance scale. I simply set mine for infinity when using a compact camera. I was happy with the results. Another neat trick is to utilize an external flash. They often have a much more powerful autofocus assist light built in that will allow your camera to focus in pitch black night. So, you would use it focus, then turn the flash off.
-Consider all the ambient light sources unless. Even a very weak light adds up during a long exposure.
-Set your white balance to daylight. This will preserve the unique colors at that time of day. There is no point at getting up at 2am if you just want to take a photo that looks like it was taken at noon.
-Start taking photos before you even see the sun. There is usually a lot of color in the sky that you don't even notice until you take a long exposure photo and see it. Try it.
-Remember to expose for the highlights. Ensure that you are taking in enough light so that the histogram is very close to the right most wall without touching it. On a recent outing I noticed that some of my students were not doing that because it looked better on the LCD when it was underexposed. That is true. However, it will not look nearly as good as the image that was properly exposed once you begin editing on it the computer.
-Shoot RAW file format (assuming your camera supports it). If it is worth shooting, then it is worth shooting as a RAW file.
-Consider creating a HDR image from multiple, varying exposure (I will soon post more on HDR).
-Look for reflections in water (assuming there is water) that will give you twice the color. Shooting just after it has rained is nice as there are more reflections from everything wet. It is also night to shoot when it is kind of foggy/misty out as light will create some areas of glow.
-Bring a cell phone or a buddy; preferably both. If you are trouncing around in the dark it is a good idea to have a way of getting some help should you run into any trouble. Please take this seriously.
-If you are including the moon, sunset, or sunrise, consider where it will be at the time of your shoot. OF course, the sun rises in the east and sets in the west (changes a little throughout the year, but not much). So, you will get a vastly different photo when shooting sunrises to the east or sunsets to the west.
-It is going to be very dark. Bring a flashlight. This will help you see your camera as well as see where you are going.
-You must use a tripod as exposure times will be long
-Use a remote release to trigger your camera. Or use the self timer if the timing of the shutter release isn't critical. You may want to invest in a cable release which has a timer function. This will allow you to use a shutter speed longer than what the camera otherwise offers. For example, the longest shutter speed my Nikon D300 offers is 30 seconds. If I need a shutter speed longer than that, I have to use the Bulb setting. In that mode, you have to hold the shutter release button down to keep the shutter open. This is not conducive to sharp photos. Higher end cable releases have timer functions built in that will allow you to set longer times and hold them with a single press of the cable release button.
-Use the mirror lock up or anti-shock feature of your camera. This will help insure that the photo won't be soft due to vibrations from the mirror (Only applies to those using DSLRs as compact digital cameras don't make use of a mirror).
-Turn on long exposure noise reduction if your camera has it. Most DSLRs and some compact cameras do. May have dig through the custom menus to activate it. The problem with this is your longer exposures will take a very long time to complete. Let’s say you take a 30 second exposure. First the camera takes the normal shot, and then it takes another 30 second shot in which the shutter doesn’t open. It takes the resulting noise pattern and subtracts it from the original exposure. It is very effective, but it really slows shooting down. Not a big deal when it is 80 degrees out, but it really stinks when it is 25 degrees out.
-Bring your camera’s instruction manual. You should always carry it with you anyways. If you are using a seldom used feature like long exposure noise reduction, then it is likely that you will have to look up how to activate it.
-Use your cameras lowest ISO. This assumes that you can use a very slow shutter speed as needed. For most of you this will require that you use the bulb mode in which the shutter will remain open as long as you keep the shutter release button pressed. Many of the remote releases have a provision to lock the button down until you release it. If your camera doesn’t have a slow enough shutter speed, then you may have to increase the ISO in order to obtain a correct exposure even when the aperture is lens all the way open.
-You may have to manually focus. All autofocus cameras require a certain light level to autofocus. If you are setting up in the dark, you will have precious little (if any light) so you may have to manually focus. If you have a DSLR, you can set the lens on infinity. You should note that the lens will likely allow you to focus past infinity. Past infinity?!? This is to take into account the expansion of the lens due to different weather, humidity, and pressure. So, you make have to take a few photos to insure that it is really set at infinity. Almost all compact digital cameras have a manual focus provision that entails selecting a distance from a distance scale. I simply set mine for infinity when using a compact camera. I was happy with the results. Another neat trick is to utilize an external flash. They often have a much more powerful autofocus assist light built in that will allow your camera to focus in pitch black night. So, you would use it focus, then turn the flash off.
-Consider all the ambient light sources unless. Even a very weak light adds up during a long exposure.
-Set your white balance to daylight. This will preserve the unique colors at that time of day. There is no point at getting up at 2am if you just want to take a photo that looks like it was taken at noon.
-Start taking photos before you even see the sun. There is usually a lot of color in the sky that you don't even notice until you take a long exposure photo and see it. Try it.
-Remember to expose for the highlights. Ensure that you are taking in enough light so that the histogram is very close to the right most wall without touching it. On a recent outing I noticed that some of my students were not doing that because it looked better on the LCD when it was underexposed. That is true. However, it will not look nearly as good as the image that was properly exposed once you begin editing on it the computer.
-Shoot RAW file format (assuming your camera supports it). If it is worth shooting, then it is worth shooting as a RAW file.
-Consider creating a HDR image from multiple, varying exposure (I will soon post more on HDR).
-Look for reflections in water (assuming there is water) that will give you twice the color. Shooting just after it has rained is nice as there are more reflections from everything wet. It is also night to shoot when it is kind of foggy/misty out as light will create some areas of glow.
-Bring a cell phone or a buddy; preferably both. If you are trouncing around in the dark it is a good idea to have a way of getting some help should you run into any trouble. Please take this seriously.
Monday, March 21, 2011
More on photo editing and cgi
Given that our celebrities often have their images cleaned up, why shouldn't we clean up our own images? How far is to far?
Portrait Professional Studio is a popular photo editing application tailored to clean up portraits. Basically, if you are a portrait photographer you want to present your client at their best. Perhaps even better than their best... Check out their gallery of before and after shot. I find it disturbing.
Alien Skin's Image Doctor is a similar program, though the examples are much less egregious.
I showed you lots of fashion images that were edited with a heavy hand. They were edited to the point of barely resembling the real person. Taking this one step further, if we edit photos to the point that they no longer look like the people that were photographed, why bother to even start with a photo? Why not just use computer generated models for everything? It would save a lot of money in terms of the model and the photographer and you could make everything 'perfect' from the onset?
Poser is a very popular 3D figure modeling application. Check out their gallery. People with create a figure in Poser than bring it into any number of 3D modeling applications to make it more realistic. Daz3d is a free 3D application. Victoria is a free 3D model first created in Poser than refined in Daz3d that you can modify and use freely. Is the image of Victoria any more 'fake' (or 'real' for that matter) than the images cleaned up using Portrait Professional Studio?
Silestone -- 'Above Everything Else' from Alex Roman on Vimeo.
This video is made entirely using cgi (computer generated imagery). No lenses or cameras involved. Actually, 3D programs often use 'cameras'. They are used to position the view and composition of the still image or video to be rendered. Here is an article about the artist's short film. It includes a video on his working methods. It is nuts.
This blurry of the line between cgi and photography may still a little far fetched to some (not me), but there is already work being done in the field of computer science to create programs that can differentiate by means of data analysis when they can't be differentiated visually.
Follow up- I showed you the Tron Legacy trailer last week during class to show you how digital imaging techniques were used to create a de-aged Jeff Daniels. Here is an article about how this technology will change the face of movie forever.
misc links - will organize later
Here is the link to the article I showed you in class about composition.
Interesting article about how architectural photographers are now making use of smaller lighter tools to do the same job that they used to use bigger heavier cameras for.
Like a G6 video
Thinking of the Barn
Photo Opportunities - a series of morphed 'snap shots'. Blog article about the work. Similar image made from Flickr images.
Kodak Photo Spots are vantage points at which there is a Kodak sign indicating that it is a good point to take a photo from. Disney Land has them indicated on the park map. They are designed to facilitate the photo taking process.
What does this look like?
Kodak Photo Spots are vantage points at which there is a Kodak sign indicating that it is a good point to take a photo from. Disney Land has them indicated on the park map. They are designed to facilitate the photo taking process.
What does this look like?
Friday, March 11, 2011
Passing along this job oppurtunity
We are once again hiring Photography interns to cover local arts and entertainment events. Interns must have their own equipment and a portfolio of work as an example. We pay by the shoot and work is usually done at night and on the weekends. If you have any interested candidates please have them send me their resume and a link to their portfolio. Thanks for your time and help!
Kind Regards,
Brandy Wimberly
Wednesday, March 2, 2011
Levitation/Flying/Suspension
Your project is to create a series of three images in which objects appear to be levitating or suspended in some other than normal.
Below is a video about how Denis Darzacq makes his work. Here is a portfolio of his Fall series. Here is a link to his Hyper series.
There is a good one of paper flying around in this series of self portraits.
Please think of a theme for the images. What is happening that causes them to levitate? Why are there creepy people clinging to the ceilings? Imagine a room with 4 people stuck to the ceiling and the people below unaware and going about their regular business.
Or maybe they are being beamed up by aliens. Or maybe they are spontaneously combusting. Maybe they are possessed by a demon and an exorcism is occurring. Or a person/persons constantly getting into accidents. Flying out of car windows, falling off things, etc.
Start with the idea. Then start planning, then do the shooting. You have to do all the shooting at the same location. In terms of technical matters, it is almost exactly the same as the Doppelganger Project. The only difference is that you will have to mask out supports rather than mask in another person.
You can use any photography and Photoshop trickery you want to. Create a grungy texture, make glows, whatever.
Gizmodo Levitation assignment with some good examples and write-ups.
Check out Denis Darzacq Hyper series. I like the one in front of the supermarket endcap the best.
Some interesting levitation shots by someone known as Miss Aneila.
Sokolsky did this by using cranes and wires. If he did it that way, you can handle doing it with PS.
Nice little tutorial on how to make someone appear as though they are flying.
Interesting bicycle shot with a picture of it in process in the comments section.
An unnecessary video on how to do a simple levitation. The photo is silly.
Flickr Floating People group. Some very nice work in this group.
Lei Wei is a performance artist who sets up elaborate poses then photographs them. My understanding is that he doesn't use PS.
Flickr Floating People group. Some very nice work in this group.
Lei Wei is a performance artist who sets up elaborate poses then photographs them. My understanding is that he doesn't use PS.
Below is a video about how Denis Darzacq makes his work. Here is a portfolio of his Fall series. Here is a link to his Hyper series.
There is a good one of paper flying around in this series of self portraits.
Wednesday, February 23, 2011
Printer Evaluation Image
Outback Photo is a great resource on digital printing. They have developed an evaluation image for the sake of testing printers and profiles. They make is available as a free download. The also have a write up on how to evaluate the results. The article, Using the Printer Evaluation Image, also has a link to download the image.
Tuesday, February 22, 2011
Daily Self Portraits...checking in
I would like you to bring the self portraits that you have taken so far to class. They don't need to be edited, I just want to see what you have so far.
Monday, February 21, 2011
Critique over finished Project 1 today
Critique over finished Project 1 today. You should have read the Preface, Chapter 1, and Chapter 2 from the After Photography book. Intro to Printing.
Monday, February 14, 2011
Today, Monday 14 (Happy Valentine's Day!)
Today is a work day. You should have everything that you will need to complete this assignment as RAW files. You will edit and composite the images in class.
Wednesday we will have a critique of the completed images.
If you have yet to show me a successful ISO series, please have it today.
Wednesday we will have a critique of the completed images.
If you have yet to show me a successful ISO series, please have it today.
Monday, February 7, 2011
Composition resources - please read by Wednesday
Today and Wednesday, we will have a discussion of composition. To follow up on that, I would like you to read the following for Wednesday. On Wednesday, we will also discuss effective use of focal length to control the apparent space between objects.
The Art of Black and White Photography: Techniques for Creating Superb Images in a Digital Workflow, read Part III: Rules of Composition. The whole thing.
http://www.utoledo.edu/library/
Go to the Quick Links section and hit Search
Or go directly to
http://utmost.cl.utoledo.edu/search
Once you find the book, you click on the read online link or something like that. If you connected to the internet via a UT connection, you will not have to sign in. If you are at home, then you will have to sign in using your name and R number.
A really great Kodak presentation on photo composition made in the late 1970s. I love this presentation. I have it on slide and audio cassette; easier to show this way.
Kodak Guidelines for Better Photographic Composition - this is an old Kodak guide to photo composition that someone scanned and transcribed. The images still hold up. It is a newer version of the other presentation.
Kodak Guide to Better Pictures: Composition - simplistic, but there is still some good information and images here.
The Art of Black and White Photography: Techniques for Creating Superb Images in a Digital Workflow, read Part III: Rules of Composition. The whole thing.
http://www.utoledo.edu/library/
Go to the Quick Links section and hit Search
Or go directly to
http://utmost.cl.utoledo.edu/search
Once you find the book, you click on the read online link or something like that. If you connected to the internet via a UT connection, you will not have to sign in. If you are at home, then you will have to sign in using your name and R number.
A really great Kodak presentation on photo composition made in the late 1970s. I love this presentation. I have it on slide and audio cassette; easier to show this way.
Kodak Guidelines for Better Photographic Composition - this is an old Kodak guide to photo composition that someone scanned and transcribed. The images still hold up. It is a newer version of the other presentation.
Kodak Guide to Better Pictures: Composition - simplistic, but there is still some good information and images here.
Tuesday, February 1, 2011
Sunday, January 30, 2011
Wednesday, January 26, 2011
Due Monday
-Your significant outfit posted on the blog (if you haven't done so already)
-One test shot for the Ambiguous Doppelgangers Project. Okay, that really means two shots to be combined into one image. You don't need to do the editing, just the shooting. We will combine them in class.
-Your ISO shots if you need to redo those.
-One test shot for the Ambiguous Doppelgangers Project. Okay, that really means two shots to be combined into one image. You don't need to do the editing, just the shooting. We will combine them in class.
-Your ISO shots if you need to redo those.
Morgan's Significant Outfit
This was the outfit I was wearing on New Years Eve when I was excited and ready to go out, when me and my boyfriend got into a fight and I ended up staying home and going to bed early.
A Significant Outfit - Sarah Takacs
To make a long story short, I wore this outfit the day I got my best friend back.
Maricruz - Significant Outfit
Significant Outfit Clinton Bales
Color Management & Ink Jet Printing
PhotoNet article on Color Management.It is well written and relatively concise. It is a good introduction to the topic. It starts with the monitor and goes all the way through the printing process. The author of that article also wrote an interesting article on monitor calibration and wide gamut displays. Here is an article he wrote on Checking the accuracy of your monitor.
Luminous Landscape, a really great photography website, has recently posted an article by Andrew Rodney titled Why Are My Prints Too Dark. It is very current and address some maters that have arisen since the 2005 publication of his excellent book on the subject; Color Management for Photographers. I encourage you to read it and the numerous articles that he links to.
X-rite is the largest and most popular manufacturer of color management products. They make a product called the Color Munki Photo which is a very reasonably priced color management package targeted at photographers. They produced a nice series on videos on using the device. The first video on color is especially well produced and concise.
Below, is an extensive write up on digital exposure determination and ink jet printing that I wrote up a few years ago. I have already asked you to read the first part. I would now like you to read the second part on ink jet printing.
Luminous Landscape, a really great photography website, has recently posted an article by Andrew Rodney titled Why Are My Prints Too Dark. It is very current and address some maters that have arisen since the 2005 publication of his excellent book on the subject; Color Management for Photographers. I encourage you to read it and the numerous articles that he links to.
X-rite is the largest and most popular manufacturer of color management products. They make a product called the Color Munki Photo which is a very reasonably priced color management package targeted at photographers. They produced a nice series on videos on using the device. The first video on color is especially well produced and concise.
Below, is an extensive write up on digital exposure determination and ink jet printing that I wrote up a few years ago. I have already asked you to read the first part. I would now like you to read the second part on ink jet printing.
Due Wednesday and agenda
1. Edited Significant Outfit Image - I will show you show to quickly make a small copy of the file optimized for the blog and how to post it there.
2. Edited 5 Images demonstrating your ability to take a sharp, well exposed photo.
3. A series of shots from your lowest to your highest ISO. Be sure to look through your camera's manual to see if you can 'unlock' a higher ISO. Some very high ISO setting are named something like HI-SPEED 1, HI-SPEED 2, etc. Consult your manual to find their numerical equivalents.
Next class we will begin to discuss color management with an emphasis on monitor calibration. We will cover how to batch edit RAW files. I will introduce Project 1.
Next week we will begin a discussion on composition.
2. Edited 5 Images demonstrating your ability to take a sharp, well exposed photo.
3. A series of shots from your lowest to your highest ISO. Be sure to look through your camera's manual to see if you can 'unlock' a higher ISO. Some very high ISO setting are named something like HI-SPEED 1, HI-SPEED 2, etc. Consult your manual to find their numerical equivalents.
Next class we will begin to discuss color management with an emphasis on monitor calibration. We will cover how to batch edit RAW files. I will introduce Project 1.
Next week we will begin a discussion on composition.
Sunday, January 23, 2011
Due Monday and recap
Your re-do of the Significant Outfit excercise.
5 photos that demonstrate that you know how to use your camera to take a sharp, well exposed photo.
Bring the RAW files to class. You will edit them during class time.
Recap- we reviewed editing of a RAW file. We made it through the Basic tab and making global edits.
- Posted using BlogPress from my iPhone
5 photos that demonstrate that you know how to use your camera to take a sharp, well exposed photo.
Bring the RAW files to class. You will edit them during class time.
Recap- we reviewed editing of a RAW file. We made it through the Basic tab and making global edits.
- Posted using BlogPress from my iPhone
Saturday, January 15, 2011
By Wednesday...
Please read the preceding post on editing RAW files and watch the videos that it links to. I fixed the broken links in the posting on exposure determination. Please read these documents as well. They are PDF, so you need to have Adobe Reader, Foxit Reader, or Preview (on a Mac) to read them.
Also - I would like you to read your camera's instruction manual. Some basic things that I want you to set are: Turn on long exposure noise compensation, set your meter to 1/3 stop increments, turn on the overview grid if it is available, turn your review time to stay on until you hit the shutter release, make sure you know how get to your histogram and blinking highlight indicators.
Best regards,
Seder
Also - I would like you to read your camera's instruction manual. Some basic things that I want you to set are: Turn on long exposure noise compensation, set your meter to 1/3 stop increments, turn on the overview grid if it is available, turn your review time to stay on until you hit the shutter release, make sure you know how get to your histogram and blinking highlight indicators.
Best regards,
Seder
Wednesday, January 12, 2011
Course Syllabus
ART 3150: Digital Photography
University of Toledo: Center for the Visual Arts
Section: 001 Credit hours 3 Spring 2011, 6:00pm – 8:30pm, M/W CVA Room 2050
Office hours: 4:30-6 pm Mon./Wed and 5:00 pm – 6:00 pm Tues./Thurs., CVA Room 2090
Professor Seder Burns Email: sedernb@hotmail.com
Class Blog: http://art3150.blogspot.com
Course Description:
ART 3150 Digital Photography is an intermediate level course examining visual literacy, technological
changes and conceptual issues in contemporary photography. Utilizing the Adobe ® Photoshop
application in this computer-intensive course, you will refine the skills you learned in Digital Art I and Art
Photography. You will be creating digital artworks, as well as expressing yourself verbally through
critiques, writings and discussions involving readings on several issues related to “digital photography”
and its impact on art. This course will also ask you to reflect on specific ethical concerns related to
“digital photography.”
Course Content:
Creative development of ideation and conceptual aspects of creating digital art.
Artistic/Visual expression in digital format (itʼs not all about the machine!)
Copyright concerns, digital vs. traditional photography.
Traditional and alternative presentation methods, moving beyond the white matt.
Readings and reviews on digital photography
Hands-on use of Photoshop CS5
Building a Photoshop System
Photoshop Tools and Work Efficiency
Image Essentials
Photoshop Retouching Tools
Color Essentials and Color Settings
Text in Photoshop
Tonal Corrections/Color Correction
Storing Images-File Formats
Capturing Images-Input Devices
Digital Darkroom, Photographic Techniques
Scanners, Film and Flatbed
Output Devices
Digital Camera
New “Photographic features”
I. Requirements
A. Completion of all in class assignments and homework on time.
B. Completion of all outside assignments.
C. Additional studio time per week may be necessary.
D. Class participation in critiques, discussions and field trips.
E. Punctual attendance – see policy.
II. Tentative Class Schedule/Activities/List of Topics Covered
In general, the first part of class will be spent on the introduction, demonstration, and discussion of new material. The latter part will be reserved for lab time or critiques. This schedule is very likely to change to accommodate the pace of the class and new ideas.
Week 1: Introductions, course overview, review of syllabus, review shooting basics
Read Preface and Chapter 1 in Ritchin book
Week 2: Color management – calibrate your monitors & Intro to Processing/Editing RAW files
Read Chapter 2 in Ritchin book
Week 3: Self Portrait – multiple instances
Read Chapter 3 in Ritchin book
Week 4: Self Portrait – multiple instances
Read Chapter 4 in Ritchin book
Week 5: Printing and Critique
Read Chapter 5 in Ritchin book
Week 6: Secrets Project
Read Chapter 6 in Ritchin book
Week 7: Secrets Project
Read Chapter 7 in Ritchin book
Week 8: TBD
Read Chapter 8 in Ritchin book
Week 9: Critique
Read Chapter 9 in Ritchin book
Week 10: Black and White Project
Read Chapter 10 and Afterword in Ritchin book
Week 10: Black and White Project
Week 11: Critique
Week 12: Night Photography
Week 13: Night Photography
Week 14:
Week 15: Final critique, all work is due at completion of exam period
IV. Grading Policy
Letter Grades
A+ Excellent and ready for museum display at the Whitney!
A Excellent and ready for display in a museum
A- Excellent
B+ Very Good but not quite Excellent
B Very Good
B- Good
C+ High Average
C Average
C- Low Average
D+ Just Below Average (passing)
D Below Average (passing)
D+ Barely passing
F Failure
To determine your final grade, each project, exercise, and assignment will be averaged, along with participation, with the following weights:
Exercise (X 1)
Assignment (X 3)
Projects (X6)
Class Participation (X1)
Participation in discussions and critiques (X 2)
Criteria for evaluation of assignments:
Quality of work relating to the effective and creative use of tools. You will be graded on the technical application. Each assignment will clearly state the goals and areas of grading.
Students are expected to complete all assignments and submit them on the due date. Assignments will not be accepted after three days beyond the due date. Late assignments will be reduced by one letter grade for each day it is late. It is responsibility of the student to read and understand the assignment sheets. Ask questions directly or via email if you do not understand an assignment, as soon as possible.
ANY CLASS MISSED WILL NOT BE REPEATED. IT IS YOUR SOLE RESPONSIBILITY TO CONTACT ME OR YOUR CLASSMATES FOR MISSED INFORMATION. If you miss class, then I suggest you start by looking at the class blog. I cannot be expected to teach you what you missed at the expense of teaching other students new material. I would suggest you come to my office hours for help outside of class.
Work lost because of computer/software crashes or failure to back up files, will be counted as a zero. I am afraid that those types of things are part of the digital art world and you must be able to produce work on time despite such setbacks.
The scheduling of the course is laid out such that you have the weekend to shoot any large assignment/project. Thus, you will always have at least one weekend to complete a larger shoot. I will typically assign projects on a Wednesday with the expectation that you bring the RAW files of what you shot to class on Monday. Monday will then be spend reviewing your images and giving you time to edit them in class. The idea is that you will do your shooting outside of class and your editing in class. That isn’t to say that you will never be expected to edit outside of class, but much of it will be done during class when I can assist you.
Learn to save frequently, save multiple versions, and back-up and maintain multiple copies of work constantly distributed across different storage media. These are important habits to develop for your career. No excuses for lost work. Every semester people lose work due to poor work habits. Don’t be that guy.
VI. ATTENDANCE/CLASS PARTICIPATION POLICY
A. Attendance will be taken daily.
B. You are granted 3 absences for any reason (excused or non-excused; I don’t discern between the two).
C. Three (3) late = 1 absence.
D. Leaving class early without communication with instructor = absence
E. You will lose one partial letter grade for each absence beyond three. For exampleyou’re your final grade averages to a B-, if you missed 4 classes, your final grade would be a C+.
F. Missing a class for a family or medical emergency— the material and the time must be made up, for it not to count as an absence. If you have more than 3 days missed for medical emergencies your grade can be affected. You must provide appropriate documentation.
G. If your phone goes off in class, I will mark you class participation for the day to zero. Same thing if I catch you playing with your phone for any reason.
H. Think of school as your job. Would you skip work? Would you show up to work late? How would that affect your job security?
*Extra credit will be given for perfect attendance.
I respect everyone’s independence and therefore will not reprimand you for missing class or arriving late. However, it will affect your grade.
VII. non-discrimination
No grades or any other decisions will be made in this class based on issues of race, gender, sexual orientation, or religious affiliation. The professor in this course will follow all guidelines on the University policy of non-discrimination.
If because of a diagnosed disability, you need special considerations to complete the requirements of this course, please let me of this as soon as possible, and I will be happy to work with you and a counselor to make any appropriate accommodations.
Questions about any information included in this Syllabus should be asked ASAP. Each STUDENT is responsible for being familiar with the information and policies mentioned above, it is assumed by staying enrolled in this course you understand and agree to them.
* Additional note: I reserve the right to modify this syllabus as the semester progresses whether to compensate for absences or for material that is not thoroughly investigated.
Other Class policies worth noting:
*I DO NOT WANT TO SEE YOUR PHONE. PLEASE TURN IT OFF AND PUT IT AWAY BEFORE COMING TO CLASS. No instant messaging during class time. Please don’t think you can secretly text during class.
*Food and drinks are not permitted in the classroom.
*Downloading software or installing software on the computers is not allowed.
* Headphones are not permitted unless it is lab time for you to work independently. Do not play music or video on your computer.
*Your area MUST be completely cleaned up before you leave. We share this space with other classes so please be respectful. Always return your workspace to its original state.
*Students are responsible for knowing the last day to officially withdrawal at their own discretion.
*It is your responsibility to determine the date of our final exam and be there for it.
*The use of audio and video recorders is prohibited during class unless approved beforehand.
*Your files must be named exactly like this: Your Name First Assignment.TIF
*No work which looks like a cartoon will be accepted for credit. None.
*No image with outlines is to be turned in. No imagery of dragons, unicorns, Pegasus, or Ligers, is allowed. No Manga/Anime inspired work is allowed. This is a college level fine art class.
*Any image that you use for any project must be created solely by you, during the semester, expressly for this course. You cannot turn in an image that you are also using for another class. You cannot download an image from the web, change something or trace it and turn it in as your work. If you need a photo of a man juggling fire, then you need to hunt down a man who can juggle fire and photograph him. The only possible exception is if you need a photo of deep space or something similar that is simply impossible for you to photograph. In those special, rare occasions, you can reference public domain imagery or if absolutely necessary, you can license an appropriate image.
Software Utilized
Adobe Photoshop CS5, NoiseNinja, and the Macintosh operating system.
REQUIRED MATERIALS
● Required text: After Photography, Fred Richtin, W.W. Norton & Company, 2009
ISBN 978-0-393-05024-0 (currently sells for around $13 on Amazon.com)
●Digital Camera-A camera (preferably a digital SLR) with RAW format and manual exposure capabilities. Some cameras are available for loan from UT, but there may not be enough for everyone. ●Memory Card for your camera of suitable size for class projects. I suggest that you have at least a 4GB card. 8 or 16GB is preferable. I feel it is better to have one big one rather than many small ones.
● External hard drive for bring your work to and from school. Due to the number of files that you will be working on, you will likely require an external hard drive to bring large amounts of files back and forth. Please note that you should always have another copy of the data that is on your flash drive/external hard drive. I suggest at least a 500GB drive. They start at around $60. We will discuss options in class.
● USB Flash Drive to bring files to the printer. I recommend the use of a flash drive over an external hard drive for this. Flash drives are not sensitive to shock like hard drives are. Think of them as temporary briefcases which allow you to shuttle your work back and forth. I would suggest you buy a 16GB or larger USB Flash Drive. As of this writing 16GB drives cost between $30-40. You might want to consider the purchase of a large capacity flash drive over an external hard drive.
● Tripod- You will need to use a tripod for several assignments. Some are available for short term loans from the photo department, but you should really have your own anyways. Bogen and Gitzo make the best. Expect to pay $100-200 for a high quality tripod that will last forever. Cheap ones work for a time, but they will ultimately break and no repair parts will be available. I would not be able to do most of what I do without the use of a tripod.
● Money for ordering prints and a printed book online - you don’t need this right away, but I would suggest you budget about $60 for this.
● Frame, mat board, plexiglass for glazing - you don’t need this right away, but I would suggest you budget $40-60 for this
● Sketchbook - you will be required to sketch out your ideas prior to shooting them
● Binder or folder for organizing course hand outs
● Folder or portfolio for turning in assignments. They don’t have to be pretty; they just have to protect your work.
STRONGLY SUGGESTED
● Scanner- Everyone should have at least one. They are incredibly cheap and incredibly underrated.
●Card reader allows the very rapid transfer of images to and from the computer. There is one at each station in the lab, but you should have one for your own use. The readers in the lab are old and may not support your particular card.
●Online backup service such as Crashplan, Carbonite, Mozy, etc.
IMPORTANT NOTES: No subject matter is taboo for this class. You will have a great deal of freedom in selecting the subject matter for each assignment. This means that you may find that some of your classmates’ images include nudity, sexually explicit content, or other content that you may find offensive. Please bear in mind that this is an art class and what you may find offensive, others revel in. You will have your chance to tactfully, respectfully express your constructive criticisms/comments during critiques.
It is expected that you come to each class with a notebook and pen to take notes. It is expected that you will take notes each class. I still have my notes from undergrad that I reference on occasion.
I do not accept FB friend requests from current students during the semester. I would be happy to be your Facebook friend once class concludes.
It is expected that you are in class for the express reason to learn about digital photography. As such, it is expected that you refrain from surfing the web or checking your FB/e-mail during class/texting. You will have breaks during which you can do so. If you are found to be doing so, it will adversely affect your participation grade.
Absolutely no food or drink is permitted in the lab. This is not my rule, so please don’t ask me to change it.
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