Photography 10 Package - Harry Collinge High School

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$Math 8 - Chapter 4 Review Name: Date: Mark: /30$

views. Try different lighting conditions. Use naturallight or artificial light.! HANDS (ASSIGNMENT #11)Hands talk. They may not speak verbally, but theycan tell a lot about an individual just in the way theylook. Are they rough, callused, clean, aged, young?Try to get in close and exclude all that's not necessary.Have the hands tell us something about the person.They can be doing something or just resting in a lap.Avoid obviously posed pictures and pictures withdistracting backgrounds.! LANDSCAPE/WATERSCAPE (#12)The environment around us sometimes goesunnoticed. People tend to look at humanaccomplishments rather than natures’. Thisassignment will force you to look at nature andNATURE ONLY. Avoid buildings, cars, etc., in your shot.Be careful when positioning the horizon—If you haveone. Avoid positioning the horizon in the centre of thephotograph. Remember the 1/3 2/3 Rule (Rule ofThirds). Keep the horizon in its natural position. Inaddition, remember that a blue, cloudless sky willusually appear "white" when you develop the picturein black and white. To avoid this, try and take yourpicture when there are some interesting clouds in thesky. If you are including water in your shot, or if yourshot is all water, look for reflections, or things ofinterest that will keep the viewer's eye in your photo.In addition, you usually need to overexpose your shotif there is light reflecting off the water. Be creativeand look around.! LITTER/TRASH (ASSIGNMENT #13)Look around. Don't take a cluttered picture; look forsome litter with interest. The litter doesn't have to bein a pile or a trash can. It can be in the gutter, a car,the school, the store or anywhere. It can be a singleitem or a bunch of stuff, a bag or a can. Compositionis important in this assignment to ensure interest.Remember to have a main emphasis and not acluttered picture full of garbage. As with most of yourassignments, sunlight is the best source of light. Lookfor litter that tells a story. It may be in conflict with itssurroundings such as a cigarette pack in a rose bush orin harmony with its surroundings, such as a pop caninside a recycling container.! NATURE (ASSIGNMENT #14)This assignment is very similar to the landscapeassignment (#12). However, the nature assignmentallows you to have a bit more flexibility. Your photomight be of a flower, a tree, a bush, group of wildflowers, etc.! NIGHT SHOT AND/OR SILHOUETTE (#15)For your night shot try different things. Take a shot ofa sunset, sunrise, during a lightning storm, try asilhouette, use a flash outside, try a regular setting onyour camera or use the bulb setting and experiment.Bracketing is a must if you want your night shots towork out. Remember to always use a tripod or setyour camera on some solid object when using ashutter speed setting less than 60 (30). You may findthat when you use the bulb setting on your cameraand keep the shutter open for a few seconds or aminute that your Av (f/stop) may have to be closeddown to a setting of 22 in order to preventoverexposure. (This would be true for lighteningshots, etc.) Remember to experiment with your ISO.The higher the ISO the less light you need, but you’llalso get more noise.! AN OBJECT AND/OR SHADOW (#16)When composing this photograph, keep in mind thatneither the entire object nor the entire shadow has tobe in the photo. Parts of either are acceptable.However, you should also keep in mind that a personlooking at the photo shouldn't be left guessing what itis a photo of. In other words either the object or theshadow should be somewhat identifiable. To get thebest shadows this shot should be taken either in themorning or in the late afternoon. Try different pointsof views. Get down low, up high, walk around andfind out where the best shadows are.! OLD THINGS (ASSIGNMENT #17)This is a very broad area, so use it to your advantage.Don't just look for something old; look for things withcharacter, things that have been exposed to theelements of nature, objects with shadows orcontrasting light patterns, anything that catches youreye. This isn't an assignment in just photographingold cars and junkyards, although that might do. Thisis an assignment to use your imagination and youreyes, and look for, or create, a visually pleasingphotograph. Get in close and crop out all unwantedand unnecessary elements.! PATTERN (ASSIGNMENT #18)Try and fill the frame—if possible—with the pattern,and have nothing else but the pattern in thephotograph. Remember, there are four different typesof lines; vertical, horizontal, oblique, and s-shaped.Use as many different lines as you want or just useone, but make sure you have an interesting pattern.Remember the basic rules of composition, and followthese rules as possible. Don’t forget your main subjector emphasis. You will usually get the best result if youshoot outside in the sunlight.-4-
! PORTRAIT (ASSIGNMENT #19)For this assignment you can shoot either indoors oroutdoors. When shooting indoors, be sure to haveadequate lighting or adjust your ISO. Try variationswith the lighting. Try side-lighting, backlighting, lowlightingwith shadows, or direct lighting. If youchoose to shoot outside, avoid having the person facedirectly into the sun. Direct lighting from the suncauses the person to squint, washes out detail and isharsh. You may want to shoot the photograph with asmall Av of 1.8 or 2 to ensure that the background isblurred and does not interfere with the portrait. Getin close to your subject and crop out anything that isunnecessary or distracting. Avoid including too muchof the subject in the photograph; try photographingtheir head and shoulders only.! PRODUCE/FOOD (ASSIGNMENT #20)Your assignment is to photograph food/produce. Itcould be in the grocery store, on a cutting board, in apot on the stove, on the dinner table, in the garden, ata restaurant or open food market. It could be cookedor raw or anywhere in between. The important thingis that the photograph is centered on the food. Uselight and shadows to enhance the food. You shouldalways ask for permission when shooting inside aprivate business or store.! REFLECTION (ASSIGNMENT #21)Look for how a reflection intertwines or isolates itselffrom its surroundings. The reflection could be from alake, a mirror, car mirror, store window, office tower,sunglasses, hubcap, puddle, or a hundred otherobjects. Be creative. Don't take a reflection shot ofnothing. There must be a main subject, something thatwill keep an observers attention. Use dynamics andpositioning to add interest to your photograph. Avoida cluttered photograph. Keep it clean, clear, andcomposed.! SIGNS AND/OR SYMBOLS (#22)Be different. Be innovative. This photographshouldn't be a SNAPSHOT of a sign, but it must have asign or symbol in it. The sign or symbol shouldobviously be the main subject. Try different lightingtechniques—fill flash, silhouette. Remember thatsymbols such as tulips, crocus, thumbs-up, etc. can beused as well.! STILL LIFE (ASSIGNMENT #23)This is an exercise in the composition of a variety ofINANIMATE OBJECTS. Inanimate objects are non-livingthings such as fruit, flowers, etc. You must arrangethe objects. It is imperative that you choose yourbackground and foreground carefully. A shallowdepth of Field is often desirable to isolate thecomposition from the background and foreground.Use a low Av (f/stop). Play with the lighting andshadows to create the desired mood. Keep it simpleand uncluttered. Watch the negative space.! TEXTURE (ASSIGNMENT #24)This assignment requires you to photograph objectswith texture. A good place to start looking is innature. Look for as many different types of surfaces asyou can find. As you look for your perfect textureshot, keep in mind that the textured shots can be in thegutter, on the road, in a bush, up high, down low, oranywhere else. Since light makes a big differencewhen shooting texture, it is best to shoot when the sunis low—or at an angle—to the object. Keep in closeand use the negative space wisely.! VEHICLE HUB- GRILL- BUMPER… (#25)The restriction in this assignment is that thephotograph CANNOT contain the entire vehicle. Get inclose and fill the frame with some detail of the vehicle.Look for different shapes and patterns, shadows andreflections, and try to combine these patterns into aninteresting photograph. Don't take a picture of anentire wheel, for example, but rather, get in close andfocus on some detail or combine the wheel with afender to give the picture interest. Look for thingslike rust, mud, water droplets, icicles, reflections, etc.! ISO ASSIGNMENT (ASSIGNMENT #26)Compose and shoot a series of two or threephotographs demonstrating the application andresults of varying ISO settings. It is preferred that youshoot the same subject. Take notice of the resultingAV and TV settings and the accompanying noise.! BRACKETING ASSIGNMENT (#27)Compose and shoot a series of three photographsdemonstrating the application of bracketing. Shootthe same subject at the same time. Take notice of theresulting AV and TV settings and the exposure.! STUDENT CHOICE—FREEBIE (#28)This assignment is here because there always seems tobe an awesome photo that just doesn’t quite fit intoone of the assignments. So have fun, and be creative.© BILL BRANDLEY 2002-20<strong>10</strong>VULCAN, ALBERTA-5-
Page 1 and 2: PHOTOGRAPHY 101. INTRODUCTION:This
Page 3 and 4: The history of photography is long
Page 5 and 6: HISTORY of PHOTOGRAPHY -assignmentA
Page 7 and 8: NIKON D3100 (Back View)
Page 9 and 10: ELEMENTS OF COMPOSITION AND DESIGNC
Page 11 and 12: Photoshop Elements 9 Cheat SheetHow
Page 13: Adobe Photoshop Elements 9 Toolbox
Page 16 and 17: NAMEASSIGNMENT SHEET5-1311-1COURSE
Page 20 and 21: NAMEPHOTO LOG SHEETCOURSE COM: 1005
Page 24: ONASSIGNMENT TIME POINTS MARKING CR

Photography 10 Package - Harry Collinge High School

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