Project 2: Fictional Photographic Reality, Composite

Due Dates:

• White Screen production shoot: Monday 3/7 and Wednesday 3/9
• Preliminary critique Monday 4/4
• Final critique:  Wednesday 4/6 

©Loretta Lux

©Kelli Connell

Create something that is both possible and impossible, at the same time. Explore the line between fantasy and reality.

Create a character and place them in an environment or situation that might be strange, surreal, or simply, weird. How is the line between fantasy—reality blurred? Consider myths, fairy tales, other stories. Or make something up.

Move beyond the simple and silly to something that works on multiple levels. What questions are raised? Beyond that, anything goes. There is plenty of room for creative interpretation. 

Think big for this one... costumes? styling? props?

Integrate the subject with the unlikely background/situation. Unify lighting direction, scale, point of view, shooting angle, etc., so that it truly appears that the subject is occupying the unlikely place.

There are just a few technical ground rules for this project.

1. At least one of the main subjects should be shot with white screen techniques
2. The white screen subject should be masked and appropriately integrated into the new background, with scale, perspective, point of view, light quality and direction convincingly matched.
3. The finished image should "read" realistically and convincingly as a single, genuine photo
4. At least 18" x 24" @300 dpi. All component pieces should be at adequate resolution

Gregory Crewdson
Grace Weston

Kahn and Selesnick

Bill Finger

Patrick Nagatani

Sarah Anne Johnson

Loretta Lux

Wendy McMurdo

Kelli Connell

Cornelia Hediger

Gillian Wearing

Student Work:

Exercise 5: Light

For Monday 2/29

Read chapter 5

Complete exercise on page 164, with the following modifications:

ISO up to 400 is okay

Choose *one* of the suggested settings, "urban," "residential," or "natural," rather than all three.

The setting may or may not have a person/figure...up to you, but keep it consistent for all images

Photograph in this setting with at least two very different qualities of light. For example, cloudy and sunny, or morning and early evening.

Bring to class:

1. All images from exercise
2. Also bring photographs (physical or digital) that would benefit from either restoration, retouching, or both.

Group Prelim Critique

A	Griffin	Ramsey
A	Mcdaniel	Trent
A	Simpson	Nicholas
B	Hall	Dan
B	Miller	Justin
B	Swindle	Eli
C	Budnik	Brooke
C	Marsh	Lucas
C	Sagirs	Danielle
C	Tellis	Trevyon
D	Creech	Archie
D	McCool	Cade
D	Shaw	Wesley
D	Wydra	Kirsten

Members of Group A will critique all members of Group B

Members of Group B will critique all members of Group C

Members of Group C will critique all members of Group D

Members of Group D will critique all members of Group A

Point-Of-View, in-class

Groups

Boswell	Olivia	A
Duff-Gordon	Jon	A
Japal	Caroline	A
Picazo	Alex	A
Sturgill	Ginny	A
Bramlett	Prestley	B
Glasscock	Rachel	B
Llewellyn	Nick	B
Satcher	Jamie	B
Wachs	John	B
Clay	Alayna	C
Gosney	Eden	C
Moore	Brandon	C
Snow	Grant	C
Warner	Hannah	C
Dismuke	Abigail	D
Homan	Kalypso	D
Peters	Marcelle	D
Snowden	Ryan	D
Yarbrough	Alexa	D

In groups, explore the point-of-view images created by all members of your group. 

Questions to explore:

1. What are some of the points-of-view explored in the photographer's imagery...first person, third person, and omniscient. Which images are more engaging or exciting examples of these perspectives. Identify and discuss why...
2. How do the varied points-of-view change the "story"of the subject matter? How do we relate to the subject differently? 
3. Which point-of-view/subject combinations invite further interest or curiosity? Are there implications for further exploration that the photography might try?

Based on this group discussion and feedback, plan to turn in 9 images (1200 pixels per longest side, jpeg, quality 10, sRGB) by the end of class.

• For each of your scenarios shot, choose three most compelling POVs

Exercise 4: Point-of-view

Point of view is an important narrative device to orient the viewer toward the subject, or activity, depicted in the photograph. It places the viewer in the "scene" with varying degrees of distance, participation or complicity implied. 

The term "point-of-view" comes directly from literary theory, when it is used to describe the relationship between the narrator and the story line. For instance, when the narrator uses the words "I" and "we," they are usually recounting a story in which they were a participant. "I was reading my phone." This is called first-person. 

When they use "he", "she" or "it," they are using a third-person orientation, describing the story from a once-removed perspective. "She was reading her phone." Usually with third person, the information revealed in the story is still limited to what would reasonably be known by someone passing by.

In some cases, much more information is revealed. For example: "While reading her phone outside the Ferguson Center., a barista in Starbucks knocked over a pitcher of frothed milk. This might be called an omniscient point-of-view, where information is revealed from an privileged all-knowing (or "God's eye") perspective.

Point of view can be explored though many means:

• Distance to subject
• Angle to subject
• Focal length (wide versus zoom)
• Selective focus
• Depth-of-field
• Eye contact
• Empathic perspectives (for example, place camera next to subject's head, pointing out, so we witness what the subject sees)

The important question to ask...through who's eyes are we seeing? The subject's? Another participant? A stranger walking by? An all-seeing, all-knowing narrator?

What are the points of view depicted in the examples below? How might this affect the "story" or implied narrative of the photographs?

Due, 2/15:

Shoot three different scenarios, with a single subject. Explore the widest range of points-of-view possible for each scenario (10-15 per subject/scenario). Be deliberate... for each image, what point-of-view is being used? Try first, third and omniscient perspectives... see what you discover. 

Bring files to class. 

Project 1: Working a Meaningful Subject

©Duke

©Harris

© Craft

© Craft

©Pan

©Pan

©Pan

© Prestage

©Thornton

What is important to you in this world?

Develop a group of images around a concise subject, theme or idea. It will be helpful to be as specific as possible about your subject or idea.

For instance, if photographing "people," perhaps choose a single person and create an extended group of images, or perhaps create images in a subcategory, such as "activists," "cheerleaders," "smokers," etc.

If your interest is landscape, or places, consider choosing one place and exploring it thoroughly. Or alternatively, photograph as many variations of a certain category of place as you can find. For example, "back alleys of downtown Tuscaloosa," or "best hidden places on camps to take a nap."

If you like things, consider setting up an arrangement or still-life of meaningful objects. It can be helpful to do this on a table next to a window or on a porch, where you will have plenty of natural light.

If exploring an idea, perhaps work with something rather open ended, such as "daily routine," or "image is everything (or not)," or "my life in 5 years," etc.

A collection of haphazard images does not make for a strong project. Intention is important, as well as follow-through and a tight edit/image selection.

Work will be evaluated on:

• Clarity of idea/main subject/theme/concept
• Strength of images (framing, composition, etc.)
• Technical camera skills (sharp focus, solid exposures)
• Photoshop /image editing skills
• Whether project is adequately realized (follow-through)
• Print quality

Due Dates:

Prelim critique: 2/11 (Wednesday)

Final critique: 2/18 (Wednesday)

Portfolio of 10 exhibition-worthy images, 6 of these should be printed.

Exercise 3: Depth of Field

Deep depth of field. Achieve with small aperture and/or wider angle lens.

Shallow depth of field. Achieve with wide aperture and/or longer (telephoto) lens.

Lens with adjustable aperture 

Typical range f-stops

In class:

Explore depth-of-field using Aperture Priority Mode. 

Nikon: use "A" mode

Canon: use "Av" mode
Other brands: ask instructor

The photographer chooses the aperture and the camera automatically adjusts shutter speed for optimal exposure.

Shoot in fairly bright conditions to ensure adequate exposure, or use higher ISO.

• Find a situation where there is a distinct foreground object and the background is far away.
• Set camera to manual focus.   Focus on the foreground object for all variations. 
• Use a medium-to-long focal length setting. Avoid wide angle. Instead zoom in and step back. 
• Shoot the image three times, varying the apertures. Create at least 3 3-image sets.

1. f4 or wider (f2.8, f1.4 okay)
2. f8
3. f16 or smaller (f22 okay)

Out of Class Shooting (for Monday 2/8) Bring files to class to review and/or share

Chose specific subjects and shoot them with widely varied depths of field, while maintaining the same composition/framing. This means 2-3 variations of the same "shot" but created with a range of apertures to vary the depth of field. Again, shoot on aperture priority.

In the examples below, we see the same subject and the same framing, but with different depths of field. How does this affect the image? Which do you prefer? Why?

f4.0

f18

Exercise 2: Making color the main thing, Part II

Due: Monday 2/8, beginning of class

• From the images you shot, evaluate and determine your 10 most successful images. Consult with instructor and classmates to widen your perspective.
• Work up global and local adjustments, save as PSD files (RAW or JPEG workflow)
• Create jpeg copies of all 10 of these, using image processor, 1600 pixels, quality 10.
• Make prints of 5 of the images.
• Create PSD copies of the 5 printed files, using image processor, 1600 pixels.