4 pts. Due Oct 12, 2:30 pm. Working outside on a sunny day, photograph low and high key versions of 15 different subjects for a total of 30 photos. the goal is to create two photos of the same subject that have different moods.
Find a a subject such as a plant or tree that has direct sunlight on part of it and is also partially in shade. Adjusting your exposure, take two different versions of this subject, one that is low key where dark tones predominate but there is something bright and one that is largely bright but where there is something in shadow.
Try to create two different moods just by changing the exposure.
Don’t try to do this on an overcast day. Check the weather and plan ahead.
If your only option is to do the assignment when the weather is overcast, then redo the lab exercise and work with exposure challenges. Photograph 2 exposures for 15 backlit subjects and landscapes or cityscapes with sky for a total of 30 photos.
Post your final 30 photos an album in Flickr. Send your best pair to the group.
Working outside in the day, freeze the motion of athletes and bike riders, dancers, jumping dogs. Try at least two different types of subjects ie soccer players and bikers, kids on swings and dancers. Capture the decisive moment. The soccer player when their leg is fully stretched out in a kick, a bike rider doing a wheelie. Don’t be shy. Fill your frame with the action.
Use a fast shutter speed.
If using a cameraphone, use lightroom or other app that lets you set the shutter speed.
Post shots of at least two different activities to an album on Flickr for a total of 40 shots. Please don’t include all of the times you missed: shots out of focus, the back of receding bike riders, etc. Just your best work. Send your best two to the class group.
Set the shutter speed to 1/500 or 1/1000. Capture a range of subjects in motion creating a minimum of 15 photos that freeze the motion.
Blurring motion: use a tripod. Start with a shutter speed of 1 “. If your photos are too bright look for a darker place to shoot. Combine something moving and something that is still and sharp in every frame. You can tell a short story like Duane Michals or create a minimum of 10 photos that contrast blurred motion with a sharp environment.
Put the final 25 photos in an album on Flickr. Send your best one or two of each category to the class group.
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.
Resource
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.
The Catch, 1/10/82 Dwight Clark from Joe Montana, Candlestick Park, S.F. Photographer: Walter Iooss.
Photographer: Joe Brook
Photographer: Joe Brook
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.
Matthew Pillsbury
Matthew Pillsbury
Matthew Pillsbury
Duane Michals
Duane Michals
Duane Michals
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.
Timing
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.”
Photographing outside during the day in good light, take a minimum of 30 photos where there is something in the foreground and something in the background. Use shallow depth of field so either one or the other is out of focus.
If you are working with a camera phone, all of your shots will be close ups. Please for this homework, do not use an app like focos or portrait mode.
When working with a camera phone the best way to achieve shallow depth of field is to get very close to the subject with some actual space between the foreground and the background.
Put your 30 photos on an album in Flickr. Send your single best photo to the group.
Camera Phones and Depth of Field
Camera phones have a fixed aperture. For example, the aperture of the iPhone 7 is f1.8. This is one of the things that makes cameraphones so good in low light. You might think this wide open aperture would make it easy to get shallow depth of field with a cameraphone. However, the other factors involved make it quite challenging to achieve shallow depth of field with a cameraphone.
Camera to subject distance is the factor that gives you the most control of depth of field when working with a camera phone. To create shallow depth of field bring the camera as close as possible to the subject. Allow for some actual space behind the subject
Focal length is the distance between where the light converges in the lens and the sensor and there just isn’t that much space. Even for cameraphones, we use the size of 35 mm film as the standard when discussing focal length. So the iPhone 11 has three lenses that are the 35 mm equivalent of 13mm, 26mm and 52mm. Earlier phones with one camera have one focal length. If working with a camera phone with more than one lenses, use the telephoto choice (highest number) to create shallow depth of field.
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