COMD 1340 D085 Spring 22

Robin Michals | COMD 1340 Photography 1

Week 14 – Digital Darkroom: Local Corrections

Review Global corrections

Global corrections adjust the entire file. In the Lightroom, it includes the controls under Light, Color and Effects. In Lightroom classic, this includes everything in the basic panel: White balance, Tone and Presence.

Download and color correct the four files. Put the corrected versions in an album on Flickr.

Local corrections

After you make global corrections, sometimes you will want to make corrections to part of your image. Generally, the brightest part of the image commands the most attention. Sometimes that is not where you want your viewer to look first so shifting the exposure of parts of your image can create the image you want.

The Adjustment Brush

The important thing in this photo by Bryan Rodriguez is the face of the card player. However the cards are brighter and demanded too much attention. Using the adjustment brush, I darkened the cards. Creating a second adjustment, I lightened the face of the card player a little more. The goal was to bring more attention to the person’s face and less to the overly bright cards.


Lightroom allows you to select either the sky or the subject. the sky masks works well with building or other hard lines around the sky. It is not soeffective with trees or other soft edges.

After doing global corrections on each file, use the adjustment brush on the flower, sleect sky on the building photo and select subject on the portrait to make local adjustments.

Lab exercises

Adjust the photos above.

Working with your partner, you both adjust one of their photos and one of your and compare.

Put your results, a total of 8 photos, in an album on Flickr for today’s lab credit.


Final Project – 20 pts

Due next week, May 18:

3 albums each of a minimum of 30 photos

1 album of the 10 best photos adjusted in Lightroom

a 3-5 min presentation of the final project – projected from the album on Flickr.

Presentation Guidelines

  1. Start by introducing yourself and your project. Then outline the big picture with a few sentences sentence such as, ” I photographed variations on the theme of windows. Most of the photos were taken in downtown Brooklyn.
  2. If you are showing 10 images, you have about 30 seconds to describe each photo. Tell us what your intention was, what interested you about the photo we are looking at, and give us information we may need to know to understand the photo. Tell us what makes it visually interesting ie the use of shallow depth of field or some other feature.
  3. How do you get to Carnegie Hall? Practice.
  4. Do not tell us about what you did to the photo in Lightroom.

All the World Photo Contest Submission – 4 pts

Put a small jpg and your bio for each of your three photos on Google docs and share it with me. I will use the suggestions feature to edit the bios.

You will also need a photo release for each subject and proof of submission.

to get credit, email me the proof of submission.

CUNY Photo Challenge submission – 1 pt Extra Credit

Week 13 – Bringing it all together



  • Rule of Thirds
  • Leading Lines
  • Diagonals
  • Frame within a frame
  • Figure to ground
  • Fill the Frame
  • Patterns
  • Symmetry


  • A long shot or establishing shot
  • a medium shot
  • a close up
  • an extreme close up

Angle of view

  • Worm’s eye view
  • low angle
  • eye-level
  • high angle
  • bird’s eye or aerial view
  • oblique angle

Shutter Speed

  • Blur Motion
  • Freeze motion (including your own!)


  • Extensive depth of field
  • Shallow depth of field

Light Quality

  • Direct – hard edged shadows
  • Diffused – soft edged shadows

Light Direction

  • Front
  • Side
  • Back

Portrait Lighting Styles

For a front view:

  • Rembrandt
  • Butterfly
  • Split

For three-quarter view

  • Broad
  • Short

Studio Portrait Light Roles

  • Main – this light creates the lighting style. it casts the shadows.
  • Fill – this light brightens the shadows
  • Background light – this light creates separation between the subject and the background.


Brooklyn Botanic Garden

Take beautiful photographs at the BBG to demonstrate everything we learned this semester. post your 20 best to an album on Flcikr and send your best two to the class group.


Final Project

All the World Photo Contest submission

4 pts. Due May 18th.

The entry consists of three portraits, each with a 100 word bio, and a photo release for each person. If you want my help editing the bio – hand it in by May 11th. Put your bio in a google doc and share it with me and I will use the editing feature to make “suggestions.”

Week 12 – Outdoor Portraits


Considerations for any portrait:

Use a vertical orientation.

Focus on the model’s eyes.

Watch the background for distracting things behind the model’s head.

Considerations for outdoor portraits

Work with the model in shade or place the model with the sun BEHIND their head.

use a reflector to add light to their face.

Do not use direct sunlight on the model’s face.


Using Fill flash

Ambient Light-the existing light that you cannot control

Fill Flash-brightens shadows

Built-in flash-part of the camera and throws light about 6 to 10 feet

External flash-added to the camera on the hot shoe and can throw light 15 to 20 feet 

ETTL (Evaluative-Through The Lens) is a Canon EOS flash exposure system that uses a brief pre-flash before the main flash in order to obtain a more correct exposure.

Use M or manual.

1/1 is full power. for fill flash, try 1/16 and adjust from there.

Use Zoom to spread or focus the light. Wide angle numbers (smaller numbers) spread the light. Higher numbers focus the light.

High speed sync-allows the camera to be set at shutter speeds higher than the camera sync speed 



Outdoor Portraits


Final Project

Submit to the CUNY Photo Challenge by April 28th! 1 pt of extra credit if you send me the screen shot of your submission.

Week 11 – Portraits with two and three lights

Review Portrait Lighting Styles

Focal Length

The focal length of a lens is defined as the distance in mm from the optical center of the lens to the the sensor when the lens is focused on infinity. This varies on the camera and the lens.

Focal length controls: Magnification and angle of view

Focal length is described as short, normal ie close to human vision, or long.

Wide Angle Distortion-created when using a wide-angle lens AND the camera is very close to the subject. The object close to the lens appears abnormally large relative to more distant objects, and distant objects appear abnormally small and hence more distant – distances are extended. 

Focal length and proximity to the camera affect how a person’s face looks in a photograph. A wide focal length and proximity between the subject and the camera create wide angle distortion and will distort a person’s features.

Think about selfie sticks. What are they for but to get the camera away from your face? This makes the photograph look more complimentary to the subject. This is really important with a cameraphone because it has a wide angle lens. The center of the lens and the sensor cannot be very far apart given the thin design of cellphones.

When working with a crop-frame sensor such as a Canon 60d, approximately 65 mm will be the most flattering to your subject.


  There are three basic types of lights (these are the physical lights not portrait lighting styles):

  1. The Main or Key Light-This light provides the brightest illumination and casts the shadows

2. The Fill Light-this light brightens the shadows. It can be a reflector or an actual light.

This video shows how to use a reflector as the fill light.

3. The Separation Light or Background Light-creates separation between the subject and the background. This light can be aimed at the background or it can be aimed at the subject. If the later, it would be called a hair light. If accenting the edge of the face or shoulders, this light would be called a rim light or a kicker.

3-point Lighting

– standard lighting for portraits, video and film, uses all three: a main light, a fill light and a background light.

Lab Exercise

Two and Three Light Portraits


HW 8: Environmental Portraits

Final Project

Week 10 – Portrait Basics

Portrait Poses

There are three basic positions for someone’s head and face in a portrait.

  1. Front view
  2. 3/4 view
  3. Profile


For family photos a smile is a must but not so for a portrait. It is however important that your subject look comfortable. It is your job as the photographer to talk with your subject and make them feel comfortable.


When shooting a portrait, the subject’s eyes must be in focus. Full stop. Period.

Portrait Lighting Styles

There are a 5 basic lighting styles for portrait photography. Each style is defined by how light falls on the face.

  1. Rembrandt Light – the model is face forward, main light is at 45 degrees and casts a light on the opposite side of the face to form a triangle on the cheek.

Rembrandt Lighting
Michael B. Jordan. Photographer: Peggy Sirota

2. Broad Light-model’s face in 3/4 view-light falls on the side of the face with the visible ear. Good for controlling the reflections on glasses.

Danny Devito. Photographer: Gregory Heisler.

3. Short Light-model’s face is in 3/4 view, the light falls on the side of the face with the features. (Not on the side with the visible ear.)

Aretha Franklin. Photographer: Matthew Jordan Smith

Both of these are examples of short light.

Chadwick Boseman. Photographer: Caitlin Cronenburg

4. Butterfly Light, Clamshell or beauty or glamour light-model is face forward, front light.

Tyra Banks. Photographer: Matthew Jordan Smith

5. Split Light-model is face forward, the main light is at 90 degrees to the camera and falls on one side of the face. 

Lewis Wickes Hine (U.S.A., 1874–1940), One of the spinners in Whitnel Cotton Mfg. Co. N.C. December 1908.



Portrait Lighting Styles

Homework Assignment

Window Light Portraits

Week 9 – Depth of field, Aperture, and Perspective

Depth of Field

Depth of Field-The distance between the nearest and farthest points that appear in acceptably sharp focus in a photograph. Depth of field can be shallow or extensive. While the term includes the word depth, depth of field refers to focus.

Shallow Depth of Field

Shallow depth of field is commonly used in portrait photography to separate the subject from the background and in food photography.

Extensive Depth of Field

Extensive depth of field is often used in landscape photography and photojournalism.

The depiction of space

Perspective-the representation of a 3-dimensional space on a 2-dimensional surface by converging lines, diminishing scale and/or atmospheric perspective.

Canyon, Broadway and Exchange Place. 1936.
Photographer: Berenice Abbott

Sometimes photos combine perspective and shallow depth of field.

How to control depth of field (with a camera)

These four factors control depth of field:

  • lens aperture 
  • focal length
  • camera-to-subject distance
  • sensor size.


Aperture is the size of the opening that allows light to hit the camera’s sensor when the photograph is taken. 

  1. Aperture values are expressed in numbers called f-stops. A smaller f-stop number means more light is coming into the camera and will create shallow depth of field. A larger f-stop number will let less light into the camera and create extensive depth of field.
  2. The full stops for aperture are: F2, f28, f4, f5.6, f8, f11, f16, f22, f3

Focal Length  is the distance from where the light converges in the lens to the sensor. If it is a short distance then the lens is a wide angle lens and shows a lot of the scene. If it is a long distance, the lens is a telephoto lens and it magnifies the scene. Wide angle lenses create extensive depth of field while telephoto lenses create shallow depth of field.

Camera-to-subject distance is how far the subject is from the camera. If everything is far from the camera, it is easier to achieve extensive depth of field. If the main subject is very close to the camera and the background elements are far from the camera, it is easier to achieve shallow depth of field.

It is the small size of the sensor that makes cameraphones so good at achieving extensive depth of field. It is also the main reason it is so hard to get your cameraphone to achieve shallow depth of field.Sensor size-the smaller the sensor the easier it is to achieve extensive depth of field. Bigger sensors allow for shallow depth of field.

 Bokeh-Bokeh comes from the Japanese word boke (ボケ), which means “blur” or “haze”, or boke-aji, the “blur quality.” Bokeh is pronounced BOH-Kə or BOH-kay. 

 — From

Lab Exercises

Lab 8: Space and Focus


HW 6: Space and Focus

Week 8 – Midterm – Critique Guidelines

Critique Etiquette

  1. Respect the presenter. Give them your full attention.
  2. Ask questions about your colleague’s photography. This is not the time to ask questions about your personal concerns.
  3. Start with the positive when you comment on your colleague’s works. Use the terms below that we have learned this semester.
  4. Be generous. Offer your thoughts. Your opinion and judgements are important. Do not leave the work of giving feedback to the others in the class.
  5. Conversely, please do not speak over your classmates.


Framing: How the frame brings together the elements inside the rectangle juxtaposing them, creating relationships between them

Types of shots: how much information is in the frame

  • a long shot
  • a medium shot
  • a close up
  • an extreme close up.

Frame within a frame – use elements in the frame to enclose the main subject and draw attention to it. A frame within a frame can be a window or door or it can be items in the foreground such as branches.

Angle of View:  describes the camera position in relationship to the subject. The angle of view may be: 

  • a worm’s-eye view
  • a low-angle
  • eye-level
  • a high-angle
  • a bird’s-eye or aerial or overhead view
  • an oblique angle.

Rule of Thirds – Instead of placing the main subject in the center of the frame, divide the frame into thirds horizontally and vertically and place the main subject at one of these intersections.

Fill the Frame –  (get closer) – do not leave empty areas that do not add to the composition and plan to crop in later.

Diagonals – Sloping lines

Leading Lines – lines in the photograph that lead the eye to the main subject

Patterns – repeated elements. Break the pattern for visual interest

Figure to Ground -the relationship between the subject and the background sometimes described as negative and positive space.

Diffused light – light that comes from many directions and creates soft shadows

Direct light– light that come from one direction and creates hard shadows

Contrast: The measure of difference between bright areas (highlights) and dark areas (shadows) in a photo

High contrast : Large difference between highlights and shadows. Mostly lights and darks without many mid tones        

Low contrast :  Little difference between lights and darks. Mostly mid tones.

Frozen Motion-Motion is stopped and captured in the frame with a fast shutter speed.

Blurred motion-moving elements blur with a longer shutter speed.

The Decisive Moment: A term coined by Cartier Bresson- “the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression.”

CUNY Photo Challenge – deadline March 29th

Enter your best photo taken in the class to date.

Read the criteria of the judges and select the image you think best fits what they are looking for.

You will need to include a title, a brief description which could include the class and assignment and location.

Forward the submission email for 1 pt credit.


HW 5: Reflections

Week 7 – Digital Darkroom – Global Corrections

Quiz 1



Aspect Ratio-the proportion of the width of the image to the height of a 2D image

Clipping-the intensity of the light falls outside of what can be recorded by the camera and there is a loss of detail.

Color Profile-the data for a digital device, such as a printer or monitor, which describes its gamut, or range of colors. Used to match the gamut from one device to another.

Exif Data-information stored by the camera in the file.

Gamut-range of colors

Histogram- a graphic representation of the tones in an image. A spike of data on the left side indicates underexposure, on the right overexposure.

Neutral Value-RGB values are equal or gray

Non-destructive Editing-adjust the image without overwriting the original image data. Instructions are written to a sidecar file that tells the software how to interpret the image.

White Balance-the setting that adjusts for the color temperature of the light and that will make a white object appear white or a gray object a neutral value

Global Corrections

Global corrections adjust the entire file. In the Lightroom CC, it includes the controls under Light, Color and Effects. In Lightroom classic, this includes everything in the basic panel: White balance, Tone and Presence.

Using the Histogram

The histogram is a graphic representation of the tones in the photograph. It is a guide to exposure decisions. Most images look best when there is a full range of tones from black to white in the image. But there are no iron clad rules.

To access the histogram in Lightroom, from the keyboard select: Command 0

Or get it from the three dots on the right menu bar.

From the top of the histogram, there is a triangular button. Toggle it to turn on/off show clipping.

To maximize the the tonal range, adjust a photo to have some tones that are totally black and totally white but only a few so that you don’t lose detail in either the shadows or the highlights.

Looking at the histogram, we can see that there is not a true black or white. To raise the contrast of the image and use the full tonal range, use the following adjustments:

  • Select show clipping on the top left of the histogram. Adjust the blacks slider to the left until you see bright blue flecks on your image.
  • Select show clipping on the top right of the histogram. Adjust the whites slider to the right until you see bright red flecks on your image.

Most images improve with:

  • shadows slider to +50 add detail to the dark areas
  • the highlights slider brought to the left to bring detail into the highlights.

In this photo of the pier in Coney Island, the histogram shows that is underexposed. But we also know that it is an evening scene and that there is nothing in the photo that should be bright white.

Lightroom Workflow:

  1. Optics: enable lens correction. If there is architecture or a strong horizon line, geometry>upright>auto
  2. Crop.
  3. Color. Adjust the white balance if necessary.
  4. Light
    a. Exposure slider-use to adjust the overall tonality
    b. Set black point using show clipping
    c. Set white point using show clipping
    d. Use shadows slider to brighten mid tones.
  5. Effects – Adjust clarity (mid tone contrast)
  6. App: color – Adjust vibrance and or saturation
  7. Detail panel – Sharpen-amount at least 50

Lightroom CC Resource

Lightroom Classic Resource

A few tips for Lightroom Mobile:

  1. To access the histogram, tap on the image with two fingers. If you can’t really see the histogram background, brighten the display.
  2. To see the image before your corrections, press on the image.

Lab Exercises

Global Corrections


Midterm Project

Week 6: Lighting for Mood


Lighting Quality

Diffused– light hits the subject from all directions and the shadows are soft

Direct– light hits the subject from one angle and the shadows are crisp with sharp edges

Lighting Direction

Front light – light comes from near the camera position.

Side light – light come from 90 degrees to the camera position.

Back light – light comes from behind the subject and aims towards the camera.


Contrast: The measure of difference between bright areas (highlights) and dark areas (shadows) in a photo

High contrast : Large difference between highlights and shadows. Mostly lights and darks without many mid tones  

Low contrast :  Little difference between lights and darks. Mostly mid tones.              



Other terms to know

Ambient Light-The light that is already there sometimes called available light

Continuous Lights-Always on, may be incandescent, halogen, fluorescent, LED

Strobe Lights – lights that fire when the exposure is made

Strobes have two bulbs:

  • the modeling light which helps you see where the light will fall
  • the flash bulb that fires when you press the shutter release

A trigger on the camera uses radio waves to tell the receiver to fire the light. The power pack stores the power used to make the exposure.


In studio photography, we put modifiers on the flash heads to change the quality of the lights. Two basic categories of modifiers are:

  1. Softboxes- these spread and diffuse the light. The light hits the subject from many directions making the shadows softer.
  2. Grids – these concentrate and focus the light. The light hits the subject from one direction making the light harsher and the shadows sharper.

Quiz Questions

  • Identify lighting direction in a photograph: front, side, back
  • Identify light contrast: high or low

Lab Exercises

Stuffed Animals

Midterm Project

Midterm Project

Next Week

Quiz 1: There will be three technical questions and one compare and contrast paragraph.

Topics for the technical questions are shutter speed, tripod use, lighting quality and direction, studio basics such as the difference between continuous lights and strobe lights.

The compare and contrast paragraph will give credit for use of the following terms: the rule of thirds, symmetry, diagonals, angle of view (bird’s eye or aerial view, high angle, eye level, low angle, worm’s eye view,) contrast of light and dark, frame within a frame, figure to ground, leading lines, pattern, Lighting quality: diffused or direct, lighting direction: front, side, back.

Week 5 – Light Quality and Direction

Light Quality

Direct light or hard light – the rays of light are nearly parallel and strike the subject from one direction creating hard edged dark shadows with little detail.
Examples: a spotlight, sun on a clear day, or a bare flash

Diffused light or soft light– the rays of light are scattered and coming from many directions. It appears even and produces indistinct shadows. Examples: overcast daylight, a light covered with tracing paper or other translucent material.

Direct Light and Direction

Front light comes from in front of subject from the camera position and the shadows fall behind the subject not concealing any details.

Side Light comes from 90 degrees to the camera. it adds dimension and texture to the subject.

Backlight comes from behind the subject towards the camera.



Lighting Direction


Midterm Project

Next Week

We will be going on a field trip to Lower Manhattan during class. We will take the A train. You will need train fare to go Lower Manhattan and come back to the classroom.

Be prepared to be outside and to walk. right now the forecast is for 50 degrees and sunny. That can change. We will also spend some time indoors the Oculus and Brookfield Place.

Approximate timing:

12-12:30 Review homework and Aperture

12:30-1 Travel to Fulton

1-2 Shoot

2-2:30 Return to class

2:30-3:20 Download and review photos taken on field trip, review for quiz on March 9th

Week 4 – Painting with Light

Inspiration: Atton Conrad

Sprint Campaign: 

Tripod use

  • Spread the legs out and make sure the tripod is stable. Use the height from the legs before using the neck of the tripod. Put one leg forward and the two legs on your side.
  • Put the plate on the camera and make sure that the lens arrow is pointing towards the lens. Insert the plate into the locking mechanism and make sure that the camera is secure.
  • Use the camera timer and DO NOT TOUCH the camera or the tripod during the exposure.

Considerations for painting with light: 

1. Use a tripod 

2. Use Manual as the shooting mode.

3. Set the ISO to 100

4. Set the aperture to f/11 as a starting point to get a wide range of depth of field. 

5. Set the shutter speed to 2″ as a starting point.

6. Use manual focus. Make sure the subject is in focus. To do this shine a light on the subject and use auto focus. Then flip the lens back to MF. Remember that if the distance of the subject to the camera changes, you need to refocus!

Mixing Strobe Lights or Flash with Painting with Light 

The aperture controls the exposure of whatever is lit by the strobe lights. 

The shutter speed controls the illumination of the background. 


Painting with Light


Something Near and Something Far

Week 3 – Shutter Speed: Freezing and Blurring Motion

Shutter Speed is the length of time that the sensor is exposed to light to create the photograph. It is measured in seconds or fractions of a second.

The full stops for shutter speed are: 30”, 15”, 8”, 4”, 2”, 1”, . sec, ., 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000, 1/2000, 1/4000, 1/8000

Doubling the time, doubles the amount of light that reaches the sensor.

When shooting with a cameraphone and the Lightroom Photoshop app, you can set the shutter speed of your cameraphone between 1/10,000 and 1/4 sec.

A good rule of thumb when shooting with a camera is: Any shutter speeds slower then 1/60 require the use of a tripod. When shooting with a cameraphone, you will need a tripod to shoot at 1/15 or slower.


Capturing of Motion

Your choice of shutter speed will change the way motion is captured in the photograph.

Frozen Motion-Motion is stopped and captured in the frame with a fast shutter speed.

How to freeze motion:

  • Use a shutter speed of 1/ 500, 1/1000 or faster.

Blurred motion-moving elements blur with a longer shutter speed.

How to blur motion:

  • Use a slower shutter speed – 1/4 sec to 30″ or even longer
  • Direction-if the subject moves parallel to the picture plane there is more visible movement than if the subject moves toward or away from the camera.
  • Focal length-a subject will appear blurrier when photographed with a telephoto lens than when photographed with a wide-angle lens.


The exact moment that you take the picture is as important as how long the shutter speed is. This is often called:

The Decisive Moment: A term coined by Cartier Bresson- “the simultaneous recognition, in a fraction of a second, of the significance of an event as well as the precise organization of forms which gives that event its proper expression.”

Behind the Gare Saint-Lazare, Paris. 1932
Photographer: Henri Cartier-Bresson

Lab Exercise

Freezing and blurring motion

Homework Assignment

Freezing and blurring motion

Week 2 – Composition: The Frame

The Frame

Cropping: how much information is in the frame

  • a long shot
  • a medium shot
  • a close up
  • an extreme close up.

Angle of View:  describes the camera position in relationship to the subject. The angle of view may be:

  • a worm’s-eye view
  • a low-angle
  • eye-level
  • a high-angle
  • a bird’s-eye or aerial or overhead view
  • oblique angle
Tram on Sukharevsky Boulevard, 1928. Alexander Rodchenko.

Angle of View Examples By Alexander Rodchenko

Lab: Week 2 – Composition

HW 2: Hula Hoops

Week 1 – Photographic Composition

  1. Rule of Thirds – Instead of placing the main subject in the center of the frame, divide the frame into thirds horizontally and vertically and place the main subject at one of these intersections.

Photographer: Roy De Carava

2. Leading Lines – lines in the photograph that lead the eye to the main subject

3. Diagonals – Sloping lines

4. Frame within a frame

5. Figure to Ground – Figure to Ground -the relationship between the subject and the background sometimes described as negative and positive space.

6. Fill the Frame – get closer. Never plan to crop later.

Photographer: Alexander Rodchenko

7. Patterns – repeated elements. Break the pattern for visual interest

8. Symmetry – If you fold the image in half the two haves are very similar and have equal visual weight. Or make it asymmetrical to add tension to the composition.


In-class lab Exercise



HW1 – Composition

Final Project Statement

 My theme for the final project will be black and white city skyline landscapes. My original theme idea was black and white portraits. But, I decided to go for another approach outside of my comfort zone. The reason I am going for a black and white edit is because of the aesthetic it gives the photos. I feel as if city skylines should always be photographed in black and white, the effect is just meant to be. Giving the photos a vintage New York City look and feel. The story I want to tell with my theme is that our city is iconic and we should admire it, just as the tourists do. Since we lived and grew up here, we’re used to the hustle and bustle of the city life, the whole lots of people, the whole lots of traffic, and the whole lots of skyscrapers, we never stop to see what our very own city has to offer. That is the beautiful city skylines, my subject matter. The architecture and structure of our magnificently abnormally large skyscrapers can truly be seen from a distance, not from a worm’s eye view, but from across the East River. The city itself even knows that which is why they built parks on the riverside in Queens and Brooklyn for citizens and people worldwide to come and see that magnificent city skyline. These parks on the riverside are where I will be shooting throughout the last 2 weeks of the spring semester. The techniques I will be using are depth of field, fill the frame, reflections, symmetry, frame within a frame, rule of thirds, leading lines, long shots, and high and low-angle shots. These techniques are going to blend perfectly with my theme because I will be focusing on architectural structures and buildings.    


Final Project Statement

At first, I thought about making my theme center around animals but I felt that it would be somewhat limiting and I had focused on dogs for my midterm. Instead, I decided that my theme would consist of capturing my neighborhood and interactions within it through my perspective. My neighborhood and the people in it are significant to me because of its diversity and because it is where my family first arrived yet there are visible signs of economic disparity due to the growing gentrification that has been occurring over the years. I would like to attempt to capture all of these factors into my final photography project due to the fact that I have been feeling that this change has become normalized and expected when it should not be. The subject matter in my project will consist of people, small businesses and architectural buildings or means of transportation within my neighborhood as I feel that in capturing these subjects, my intended story will be able to unravel smoothly. I will shoot in areas within my neighborhood as well as a couple of areas that I visit often in neighboring neighborhoods. I expect to shoot outside during the day, cloudy or sunny for ambient light as well as indoors and adjust the exposure on my phone camera if needed. I will attempt to use diffused lighting as I plan to mainly shoot outdoors and some shoots will possibly consist of an extensive depth of field. As for my angles, I plan to shoot in a worm’s eye view, low-angle, eye-level, and possibly a high angle since I will be focusing on architectural structures, such as apartment buildings. With my theme I intend to incorporate the rule of thirds, frame within a frame, patterns, symmetry, and leading lines as part of my composition when shooting. 

Moodboard Link:

Final Statement

My theme will be documenting my exploration of the Bronx, Brooklyn and Queens Botanical Gardens and the types of flowers, trees, and plants that are on display. I would like to illustrate and highlight the different types of flowers, plants, and trees you can find at each location. I will visit each location on different days to shoot my photos and capture the beauty of the gardens using a variety of lines, framing, different focal lengths, different angle of views and different types of lighting.  The weather on each of these days will provide me with a natural backdrop.

I have always been interested in nature and how things grow. As a child, I was never able to visit any of the Botanical Gardens and never found time as an adult to visit although it was something that I always yearned to do.  This project gave me the opportunity to make the time to visit all three and to take my time discover and appreciate all the beauty that each location has to offer. Taking pictures will allow me to slow down and be present in the moment so that I can fully embrace the experience and share my perspective.  I will also be able to share this experience with my family and introduce my son to nature and all the beauty it holds.

I plan to really immerse myself in the information available at the gardens and use it in the evolution of my small garden and to assist a church in the upkeep of their garden.  I hope that the pictures in my final project inspires my fellow classmates to find time to visit each of the gardens and capture it through their lenses.

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