Showing posts with label In-class Exercise. Show all posts
Showing posts with label In-class Exercise. Show all posts

Tuesday, August 21, 2012

In-class Exercise: Develop Module ~ 12 Versions of One Photo


Lightroom Develop Module
In Class Exercise: 12 versions of one photo
Adopted from an exercise by Julie Verdini

After learning some basic adjustments in Lightroom’s Develop Module, use the following exercise to experiment with some of the tools in the module.


Import a photo of your choosing (or use an existing one in your catalog).  You’ll create a virtual copy for each of the exercises below from the same ORIGINAL photo.

You can do this by either right-clicking and choosing “create virtual copy” OR from the Menu Bar choose Photo Create Virtual Copy.

Remember: to undo an adjustment, hold down the Command key and the letter Z at the same time.  You can also use the History panel on the lower right to step back through adjustments you’ve made.

1) Using a Lightroom Preset
On the left panel there is a list of presets.  Try them all to see their effects (remember that Lightroom will "layer" these, building one on top of the next. Be sure to click "un-do" or "Command Z" to see the full effects of each).

After playing with presets, choose a pre-set that you like, but feel goes a little over the edge on a particular adjustment. Find that adjustment on the right hand panel and neutralize it by double clicking the slider point. Continue to make adjustments until it looks AMAZING. Then save these settings by creating your own custom pre-set by choosing the plus symbol. Name it and save.

2) Manually Adjusting Color Temperature and Tint
Create another virtual copy. Using the blue/yellow and green/magenta sliders, manually create a white balance effect of your choosing.

3) Manipulating Exposure
Create another virtual copy and using the Exposure, Contrast, Highlights, Shadows, Whites and Black Sliders, create an exposure that is very different than your original.


4)Adjusting Presence:
Create another virtual copy. Move the clarity slider only and create an image that has a different amount of clarity than the original. Note what happens when you push the slider to extremes.



5) Color Vibrance and Saturation
Create another virtual copy. Now Using the Vibrance and Saturation sliders change the presence of your image in relation to color. See if you can notice the difference between the two. How do they operate together and isolated? Try both. Then create an image that differs greatly from the original in terms of color presence.

6) Using the Tone Curve, auto adjustments :
This tool is helpful if you want to isolate adjustments relating to highlights, lights, darks or shadows. Create a virtual Copy. At the bottom of the Tone Curve menu they’ll be a pull down menu opposite “Point Curve” Select Medium Contrast and then Strong Contrast and note the affect it makes to the shape of
the line on the graph.

7) Using the Tone Curve,  s-Curve for increased contrast:
Create another virtual copy. Pull on the line itself to create an “S curve” Note how this affects the positioning of the sliders. Now continue to “pull” the line until you get a tone that you want to keep.

8) Hue/ Saturation/ Luminance, Pt 1:
Create another virtual copy. Click on Hue and move all the sliders noting how it can isolate the hue of particular colors. Pick a dominant color in your image and drastically change its hue.

9) Hue/ Saturation/ Luminance, Pt 2:
 Create another virtual copy. Repeat the same exercise but in the Saturation panel. Desaturate a dominant color in your image.

10) Hue/ Saturation/ Luminance, Pt 2:
Create another virtual copy. Now click on Luminance and alter the luminance levels of at least three colors.

11) Black-and-White
Create another virtual copy. Now click on "BLACK and WHITE" to convert your image to grayscale. Use the “b&w mix” and note how adjusting color sliders affects even “colorless” images”

12) Photographer’s Choice
Experiment with one of the adjustments we haven’t used yet to test its effects.

Export your virtual copies with our normal export settings to share results with the class.  Rename yourlastname_DevelopModule_01, 02, etc.  Keep images in the order listed above so we know which adjustments were applied to which version.

Monday, August 20, 2012

Blog Post #4: Branding

Both commercial and consumer photographers need to be concerned with branding and brand identity, for different reasons.   
Read the following post on brand identity to get an overview of what it may mean to photographers:
Richard Wong on Developing Your Brand Identity 
 
Commercial photographers, whose main aim is to create images that sell a product, need to brand themselves in order to be hired by ad agencies and designers who want their particular "look" to be associated with a product or design.  When creating an ad or a fashion image, a commercial photographer also needs to understand the brand identity of the product (for instance: Nike = hardcore athleticism = just do it).
Consumer photographers, who work directly for clients to produce images for personal use (weddings, portraits, etc.), create a brand identity that will appeal to the particular demographic they want to hire them (for instance: wealthy young couples who think they're hip and cutting-edge). 
Choose one of the following exercises to blog about branding and photography:
Option One:  Local Wedding Photographers
Choose two local wedding photographers from the following link to compare/contrast their brand identity:
http://www.myportlandwedding.com/photographers

Start by naming the photographers and linking to their websites. Examine their websites for their stylistic approach, the wedding packages they offer, and how they present themselves to clients on their "about" pages.  Then, answer the following questions:

How does each photographer create a distinctive brand identity?

How would you compare/contrast the style of shooting for each photographer?

Based on what they say about their work and the look of it, as well as the prices they charge, what kind of couple do you think each photographer is targeting?




Option Two:  
Choose one of the following fashion photographers and examine his or her brand identity in depth:

Javier Vallhonrat -
Ruven Afandor -
Glen Luchford -
Steven Meisel -
Solve Sundsbo -
Vincent Peters -
Enrique Badulescu -
Ellen Von Unwerth -
Peter Lindbergh -
Steven Klein -
David LaChapelle -
Donald McPherson -
Nigel Barker -
Albert Watson -
Bruce Weber -
Helmut Newton -
Tim Wal

Post 3 photos from the photographer that you think express his or her particular sensibility or approach to fashion.

How would you describe the "look" he or she is trying to market?

What campaigns has the photographer worked on for which he/she may have been hired because of their brand identity?

Why do you think the photographer's personal brand identity may have been a good fit for the brand of the product being advertised?



Tuesday, August 7, 2012

Exercise #3: Iconic Photos (Photojournalism)

Begin in class Week 5, complete for homework and present Week 6

An iconic photograph is a photograph that becomes well-known and recognized in popular culture, so much so that it comes to stand in for the event that it captures.  For instance, Joe Rosenthal's Raising the Flag on Iwo Jima came to stand in for American victory in WWII:
















The image became, among other things, a way to sell war bonds, a postage stamp, and a bronze memorial in Washington, DC.  It also inspired this photo by Thomas Franklin of firemen at Ground Zero, which also became an iconic image of 9/11:


 Choose one of the iconic photographs below to research (or find your own):

– Kevin Carter - Vulture Stalking a Child
-- Richard Drew – The Falling Man
-- Huynh Cong Ut – Napalm Strike
-- Dorothea Lange - Migrant Mother
--John Filo - Kent State Massacre 
-- Mike Wells - Famine in Karamoja
-- Lewis Hine - Breaker Boys
-- Photographer Unknown - 1968 Olympics Black Power salute
-- Edmund Hillary - Tenzing on Summit
-- Françoise Demulder - Palestinian Woman Pleads with Soldier
-- Alfred Eisenstaedt - V-J Day
-- Eddie Adams - Execution of a Viet Cong Guerrilla
-- Malcolm Browne - Burning Monk
-- Stuart Franklin -- Tank Man of Tiananmen Square
-- Photographer Unknown -- Hooded Man in Abu Ghraib

After conducting some research, post the photo, along with the photographer's name (if known), and answer the following questions:

What year was it taken?

What event was it depicting?

How did people react to its publication?

How does the photographer feel about capturing the image/ sharing it with the public?

Why do you think this image has become iconic?

List the URLs of your sources at the end of your post.

Tuesday, July 31, 2012

Exercise#2: Sense of Place (Compare/Contrast)

Assigned in class Week 4, due by class Week 5 to present
 
Many types of photographers strive to capture and convey a sense of place, from editorial travel photographers to fine art conceptual photographers to those who capture the classic beauty of landscapes.

What is "sense of place" and how is it conveyed photographically? To show sense of place is to capture the unique aspects of a place, its culture and its character, through composition, quality of light, and the choice of whether to include the human presence.

Compare and Contrast three different landscape photographs, from three professional photographers.  One should be from an editorial travel photographer, one from a fine art conceptual photographer, and one from a classic landscape photographer.

Post each photograph (with photographer's name and source of the photo) and answer the following questions for each:

How would you describe the sense of place conveyed in the photograph?

What choices did the photographer make about color, composition, and quality of light in order to create a sense of place?

Is human presence evident in the photograph? How does the presence or absence of people impact your impression of the place?


Some resources for finding photographs by travel editorial photographers:

National Geographic Magazine: http://ngm.nationalgeographic.com/more/photography
Conde Nast Traveler: http://www.cntraveler.com/

Some names of travel editorial photographers: Sam Abell, David Alan Harvey, William Albert Allard, Joel Sartore, Ditte Isager, Melissa Farlow, Steve McCurry

Fine Art, Conceptual Landscape Photographers:
Robert Adams
Stephen Shore
Lewis Balt
Frank Gohlke
Bernd and Hilla Becher
Edward Burtynsky
Joel Sternfeld
Sally Mann
Justine Kurland

Classic Landscape Photographers:
Ansel Adams
Amy Gulick
Robert Glenn Ketchum
Art Wolfe
Roger A. Caras
Ricardo Carrasco
Norman Chaffer
Frans Lanting
Michael Lavine
Steve Parish
Moose Peterson
John Pezzenti
Oliver G Pike
Eliot Porter
George Shiras III
Hannu Siitonen
Austin Stevens  


Tuesday, July 10, 2012

Exercise #1: Building Visual Literacy

Choose a photographer's name at random from the container.  Begin to research your photographer online, looking for the most in-depth and impressive sources describing his or her work (more than one source, no Wikipedia).

Post 3 of the photographer's images that you find most moving, compelling, or inspiring.

Once you find a picture, right-click on it and choose "save as." Save your images to the desktop or the Student Work folder. DO NOT DRAG TO DESKTOP.  To upload the images on your blog post, click the picture icon in the post dialog.

Then, answer the following questions about their work:

How did this photographer get started in his or her career?
What is this photographer most well known for?
Describe the photographer's primary subject matter.
What about his or her work do you find interesting?
How would you describe his or her visual style? 


List your sources at the end of your post.