Beginning Assignment: Photogram
Beginning Assignment: Pinhole Camera
35mm Camera Quiz
Beginning Assignment # 1: Depth of Field
Beginning Assignment # 2: Textures and Pattern
Beginning Assignment # 3: Architecture and Rhythm
Beginning Assignment # 4: Transportation and The Rule of Thirds
Beginning Assignment # 5: FUNKY ANGLES
Beginning Assignment: Photogram
Assignment: Photogram
Objective: to make two photographs illustrating how exposure to light affects works.
Class Notes:
What is a Photogram? The Photogram or “Sun Print”
A photogram is a photograph made without a camera.
Objects placed on sensitized paper are exposed to light. Where the object covers the paper, the paper remains unexposed and light in tone. Where it does not cover, the paper darkens. After exposure, the paper is developed in the darkroom to make the image visible. Then it is fixed.
The Englishman Thomas Wedgwood around 1800 made the earliest photograms. He called them “sun prints.”
Beginning Assignment: Pinhole Camera
This assignment will be done in class by demonstration by the teacher.
Beginning Assignment # 1
Film to photograph with: Tmax 400 (black & white), 12 exposures; shoot one roll or more.
Assignment: Depth of Field
Objective: to make two photographs illustrating how D.O.F. works.
Class Notes:
What is D.O.F?
When a lens focuses on a subject at a distance, all subjects at that distance are sharply focused. Subjects that are not at the same distance are out of focus and theoretically are not sharp. However, since human eyes cannot distinguish very small degree of unsharpness, some subjects that are in front of and behind the sharply focused subjects can still appear sharp. The zone of acceptable sharpness is referred to as the depth of field. Thus, increasing the depth of field increases the sharpness of an image. We can use smaller apertures for increasing the depth of field.
Your grade will depend upon the following instructions:
1. Your subject(s) can be anything as long as you take two different photos of the same object. You must be three to five feet from the subject and you cannot change the focal point between the to pictures. Also, the effect should be easy to see between the two images should be clear to me - no mysteries.
2. Avoid back lighting (your subject will be a silhouette) for this assignment as discussed in class. I want you to be aware of back lighting situations for this assignment and later on, you will be taught how to adjust your camera to compensate for it.
3. Be aware of your light and time because those are the keys to taking good D.O.F. photos. Most of all have fun photographing your examples of D.O.F. and don't forget to experiment with new unique and interesting compositions. Good luck!
Note: Use the worksheet on the steps of how to use D.O.F. given to you in class.
Examples of this assignment are seen below. Please notice the differences between the two photos and how the background between the two photos changes.
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Beginning Assignment #2
DUE DATE FOR DEVELOPING FILM: Will Be Announced In Class.
Film to photograph with: Tmax 400 (black & white) 12 exposure; shoot 1 or more rolls of film.
Assignment: Texture and Patterns
Objective: to photograph a variety of subjects and scenes that emphasize the texture and patterns in your final photo. One printed 5 “x 7” photo will be graded.
The class should read this…
Point & Shoot: How to Photograph Textures
Lynne Eodice, January, 2004
As the subject of a photograph, texture speaks to our sense of touch. The way that things feel is very ingrained in our consciousness. Texture tells us about the nature of a subject, whether it's the rough surface of a straw hat, or the silky smoothness of satin. The light that reveals an object's texture also gives us a sense of its dimensionality. In a photo, texture tells us something about the subject's weight and bulk, as well as its relative hardness or softness.
Strong, spectacular light that rakes across an object emphasizes its surface characteristics in sharp detail, and creates a pattern of highlight and shadow. When shooting outdoors, it's a good idea to shoot early in the morning or late in the afternoon, when sunlight skims across a subject at a low angle. If you're taking pictures indoors, you can position lights this way, at any time you wish. All you need to do is to place the main light so that it lights the subject from one side. The flattering, soft light used for photographing people is not appropriate for photographing texture—this light source should be direct, not diffuse. Look at the contrast in the scene you're shooting. If the shadows appear to be too dark and the highlights too washed out, then you may want to add a fill light to illuminate the shadow side slightly. Experiment by shooting a series of photos of your subject, with the light at a different position for each shot. The resulting photos will reveal what lighting position works best for capturing the subject's texture.
Textures can be depicted several different ways. First of all, you can move in close to your subject to magnify the surface irregularities of the object. Texture is most often depicted in close-ups. However, when texture is part of a broader scene, as with the rippling surface of sand at a beach, it's often better to back off and show the expanse of the subject. Just as with patterns, many texture photos work well when they have some visual variety and appear to extend beyond the frame of the picture.
Framing is important, especially when you want to emphasize texture as your subject. You can dramatize this idea by comparing various surfaces within a scene, such as an elderly potter's gnarled hands creating a pot made of wet, silken clay. When showing several textures like this, you'll need to zoom in close and eliminate anything that doesn't contribute to the tactical qualities of your image.
Black-and-white film—or the black-and-white setting on your digital camera—is a good choice for emphasizing texture, as it eliminates the distractions of color. But whether you're shooting in black-and-white or color, it's best to set your point-and-shoot camera on its landscape mode to get great depth of field when shooting textures from a distance. You'll want to use the close-up mode when shooting at close range, but this will also give you a shallower depth of field. Turn off your camera's built-in flash when photographing textures, as it will produce a harsh, flat light. The shadows in your picture will become so weak and the texture will disappear. When capturing texture, just remember that a successful photo should convey to the viewer a feeling of how the object's surface would feel to the touch. n
e, January, 2004
As with patterns, many texture images work well when they extend beyond the frame of the picture. Photo by Richard Lotman Brown
This close-up shot conveys the feeling that you can reach out and touch this basketball. Photo by Virginia Coglianese
Sometimes it's a good idea to back off and show the expanse of texture, as with this rippling sand at the beach. Photo by Tina Wright
Class notes on Texture:
1. What do the following elements and principles sometimes suggest?
a) Perspective -
b) Line -
c) Form -
d) Space -
2. Class notes:
Define texture –
Define pattern -
Note: see photo examples of texture and pattern exhibited in the photo classroom.
Beginning Assignment # 3
DUE DATE FOR DEVELOPING FILM: Will Be Announced In Class.
Film to photograph with: Tmax (black & white), 12 exposure; shoot 1 or more rolls of film.
Assignment: Architecture and Rhythm
Objective: to use and emphasize the design principle of rhythm and the image of architecture in your photographs when shooting.
Class notes:
Define rhythm –
Define repetition -
Your grade will depend upon the following instructions:
1. Photograph a variety of images of architecture with rhythm and repetition. (See photo examples provided by your teacher).
2. Do not take photographs of bricks, tiles, wallpaper, and similar objects unless you include a secondary subject.
Example: a brick wall with a lizard or a vine on it.
A secondary subject helps to "activate" a boring photograph into something that is visually stimulating.
3. If a secondary subject is used in your architecture photograph, the composition may look better if this secondary subject is a little off center or at a diagonal.
4. Avoid selecting a "secondary" subject that ends up being the primary focus. Example: A person standing against a textured wall is really a portrait photo and not an architecture photo. Note: A secondary subject is not required if you think that your architecture photograph is strong enough to stand on its own.
5. The use of side lighting will produce shadows and will often intensify the textual qualities of your subject.
Note: see photo examples of textures/patterns exhibited in the photo classroom.
Beginning Assignment # 4
DUE DATE FOR DEVELOPING FILM: will be assigned by the teacher.
Film to photograph with: Tmax (black & white), 12 exposure; shoot 1 or more rolls of film.
Assignment: Transportation and The Rule of Thirds
Objective: to become familiar with the most classic theory of composition, the rule of thirds. The main subject is placed one-third from the edge of the picture to achieve dynamic tension. Photograph a variety of subjects and scenes that emphasize the rule of thirds in your final photo. One-printed photos will be graded.
Rule of thirds information:
Composition often distinguishes a casual snapshot from a good photograph. When composing your pictures for this exercise, avoid the "dead center" syndrome. How? Check out the rectangle diagram below and read on!
Mentally divide the camera's viewfinder space into thirds and place your subject of interest off center and along line and/or where the lines intersect.
1. When looking through your camera's viewfinder, mentally divide the viewfinder space into thirds, both horizontally and vertically (again, refer to the diagram).
2. For this exercise, your will need a main subject of interest and one or more secondary subject(s).
3. Simply place the main subject and the secondary subject(s) along one or more of the lines and/or where the lines intersect. Note: this provides a kind of geometric balance for the picture image, preventing main subjects from being centered, which may otherwise look static.
Study the photo examples provided by your teacher that are on display in the photo room.
4. The rule of thirds suggestion presented here is not the only way to have a balanced picture and many times will not work well for you but please try following this rule as best as you can for this assignment (next time you will break the rules by photographing pictures at funky angles!).
Note: see photo examples of Rule of Thirds exhibited in the photo classroom.
Beginning Assignment #5
Due date for developing film: Teacher will assignee due date
Film to photograph with: Tmax 400 (black & white), 12 exposures, shoots 1 or more rolls of film.
Assignment: FUNKY ANGLES (or unusual point of views)
Objective: to take a fresh, new look at every subject by viewing it from all sides and angles before taking the picture; this approach should reflect a deep understanding of your subjects and the meaning you bring them in your final photo print.
Directions:
Your grade will depend upon the following instructions: most photos are shot in the standing position, at eye level while holding the camera “perfectly” in the horizontal or vertical position. In this assignment, you will be graded on how well you deviate from this norm. Photograph a variety of subjects and scenes that emphasize an unusual point of view.
Some suggestions to follow:
1. Make sure you tilt your camera at an odd angle at all times.
2. Shoot from a high vantage point such as the top of a building, a treetop or staircase. This “bird’s eye” view turns common objects into abstract patterns.
3. Squat down or lie on the ground and shoot upward. This “worm’s eye” view emphasizes the height of the subject.
4. You may want to photograph the same subject from both a worm’s eye view and a bird’s eye view to see the difference.
5. If you have a wide-angle lens, use it. Put an object in the foreground and attempt to distort the subject.
6. Fill the frame after determining the most interesting composition(s) avoid or compensate for back lighting.
7. Most of all have fun experimenting with composition and is adventurous in your endeavors on this assignment!
Note: see photo examples of funky angles in the photo classroom.