Final Portfolio

The Final Portfolio consists of 20 images. All twenty should be in included reduced-size jpeg form, while ten of those should be printed and tastefully presented. Consider a portfolio book, matting, or even a blurb/apple book. If a digital blurb/apple book, please include all 20 images.

The images can be pulled from any of the project or assignments from the class, but should represent your very strongest work. (I would hesitate including goofy-face images). Most likely, it will consist of work from your projects, as these are more refined, but strong exercise images should also be considered.

Edit carefully. Do ask classmates and faculty for advice/feedback.

Due Dates:

All digital files (4/25)
Inkjet print portfolio option (4/25)
Apple/Blurb book portfolio option (5/2)

Final Project

Create a final project that will see you exploring concept, content, lighting techniques and creative picture-making in an original, exciting way. Really stretch for something ambitious. Fully use what you have learned over the semester. Project is worth double.

(4/9) Proposal: 1-page coherent statement. Include at least three artist influences that are informing your work.

(4/25) Project Due
6 portfolio images, prints and digital files, artist statement.

Unusual Lighting Approaches

For this week, we will explore some unusual techniques. This is the last week of formal demos.

Double Light Technique

Bare Bulb Technique

Multiple pops

Mixed Continuous/hotlight and Strobe

Mixed Daylight and Strobe

Shoot refined examples of each

Portrait Lighting, Part 3

Low Key Lighting

Dark background. Create an image where the figure feels like it is emerging from the dark, using focused lighting to create strategic highlights to delineate forms.

Consider and try:

• Profile, lit with single light. Try grid, diffused grid, softbox. Profile often work better with a slightly lowered camera position (shooting at slight angle up), to separate head from shoulders
• Front, broad or short with a grid spot. Also try with other light sources
• Front, broad, short or profile with right lighting and/or kickers
• Try some other arrangements you invent....

High Key Lighting

Light or blown-out background. Usually soft rendering of skin, uniform tones, in a bright, airy scene. Many fashion is shot this way.

Consider and try:

• "beauty" or "butterfly" lighting. (Why is it called butterfly?) Try a single softbox placed above the camera, with a reflector below. Essentially, the diagram on pages 220 & 221. Also try twin umbrellas, forming a "wall of light"

Try variations, and then refine the best for one high key, and one low key, portfolio image.

Human Form

Create a coherent group of images that use the human figure in some way. The images should be ambitious and sophisticated, using appropriate lighting design.

The work will be evaluated on:

Proposal—who are your inspirations for lighting? Discuss at least three.
Originality of Idea/Ambitiousness of Imagery
Arrangement
Lighting Design
Photographic Craft and Technique

Prelim Critique: 4/2 (Monday)
Final Critique: 4/11 (Wednesday)

Portrait Lighting, part 2

This week we will explore a multiple light portrait setup. The set-up is very similar to the example in the book (page 211)

• Position model in front of background.
• Arrange a main light for your model. Choose rembrandt, broad or short. For now, use a soft box or umbrella for this light. Arrange it precisely. 
• Meter very carefully.
• Set up a fill light. 
• Explore fill light ratios: 1:1, 1:2, 1:4, 1:8, 1:none, reflector. 
• Settle on what you think is the best ratio for now. 
• Add a background light. Initially, set the intensity to half of the main light, but vary if required. Positioning is important—place the glow of the background strategically.
• Add a hair light. Initially, set the intensity to half of the main light, but vary if required
• Add a kicker. Initially, set the intensity to half of the main light, but vary if required

Shoot the set-up progressively. Make an image that captures each new light, as you add it.

Next, download all images and evaluate on screen. What is the overall balance of all light sources? What ratios should be modified? What needs to be repositioned? Ask instructor and classmates for feedback. Based on this, plan for best balance of lights and shoot a portfolio piece.

1:1

1:2

1:4

1:8

1:none

1:reflector

background added

hair light added

kicker added

Portrait Lighting, part 1

We will be exploring common light placement for portraits, as well as the effects of different light sources.

Read: Pages 193-206 (up to "Additional Lights")

We will explore three common light directions, plus one "experimental" direction that you come up with. For review, read the book for descriptions and positioning.

• Rembrandt ("Key Triangle" in book)
• Broad Lighting
• Short Lighting
• ?????

We will stick to a single light source to really isolate what it is doing. For each of the above, explore the effects of:

• Strobe with reflector, perhaps barn doors
• Umbrella, reflected, white
• Umbrella, reflected, silver
• Umbrella, shoot through
• Soft box
• Use a reflector, if desired, to control shadow density
• For the umbrella or softbox, try some variations changing the distance from light to the subject. Note that this effectively changes the light size.

Be sure to meter each time the light source is changed or modified. This step is very important.

When you evaluate your work, make note of the visual effects created by the different light sources. How do they change how the subject appears? How do they affect mood or a sense of drama? What would you use for a formal portrait versus something more "expressive". Prepare to share and discuss in class.

metal and glass

Some examples from todays's demo, cropped and straightened (more or less).

black line

white line 

white line

metal

metal

Project 1; Expressive "still life"

Create a group of expressive still life images around a common theme or object(s). Spend ample time researching how other photographers have approached something similar—in particular study their use of arrangement and lighting. Find, fabricate and arrange subject matter with a supportive background and smart lighting design to complete your visual idea. The human form (or parts thereof) can be used as an "object", but the images should not read as portraits.

The work will be evaluated on the following:

• Overall sophistication—do study the work of other artists. 
• Original, creative or unusual subject matter
• Arrangement and background supports subject matter and/or visual idea
• Lighting design should be created to support subject matter and make a strong visual statement. It should exercise skills covered thus far in class. 
• Image design and composition. Pay attention to tone, color, arrangement
• Technical skills; exposure, focus, motion control, depth of field, etc.

Turn in:

• 5 images, for each:
• Jpegs
• Layered PSD Files
• Quality prints
• 1 page summary of the artists/photographers that directly influenced the project. In particular, speak to lighting and arrangement stylistic choices. 

Due Dates:

February 15, preliminary critique

February 22, final critique

Week 4

Reading: Chapters 3 & 4

Topic: Strobes (set-up and use), glossy subjects, direct reflections, family of angles

Job Posting

10-hour/week technical production assistant position in the Department of Art and Art History. Paid the standard hourly, work-study rate.

Preferably 2nd or 3rd year student. No graduating seniors, please. 

Duties would include the following:

• Operation of large-format printing services
• Scheduling and production of printing
• Inventory management of consumables (ink and paper)
•  Lighting studio management, including scheduling of studio space
• Oversee equipment lending in areas of studio lighting
• Regular inventory, condition reporting and maintenance of all digital printing, darkroom, studio, and digital photography-related equipment.
• Occasional lab-monitor substitution duties

Qualifications: 

• Has completed Art 328 (digital photographic arts) or similar digital experience
• Has interest in photo-printing technology
• Customer service or retail experience
• Time management skills
• Proven employment history. 

To apply:

Please forward a letter of intent with a resumé and/or a summary of relevant experience to Professor Jordan:

cjordan@as.ua.edu

Deadline: Tuesday, January 31, 2012

Active, Passive and Supportive Light

DUE: 1/30

3-5 edited down, strong, examples that show the variations

Which of the images above displays active light? Passive? Why?

Find 2-3 special objects that lend themselves to photographic intrigue. Can be anything... antiques, personal sacred objects, books, shoes, articles of clothing, or even the human form or parts thereof (hands, for instance). For now, stick to non-reflective objects.

Create an appealing still life arrangement. Remember that the background is part of your scene—how will you deal with it so it supports your subject? Shoot on flat background, or distant/diffuse.

For a single subject explore the following. For all, use a single light source and reflector as required. Shoot at least 72 exposures—keep pushing for new variations.

Consider the 4 factors of light when building your shots, and in particular:

• Relative size of the light source. Smaller light=more contrast, harder shadows. Larger light=lower contrast, softer shadows. Try different size lights... studio hot light, flash light, desk lamp, etc. Relative size can also be controlled with distance—to make a light source "larger", just move it closer to the subject.
• Diffusion. Tracing paper can be used to soften the light. Don't let the paper get too close to the light and catch fire. That wouldn't be good.
• Diffusing the light can also have the effect of making your light source larger. A small light illuminating a sheet of tracing paper becomes a large soft-box.

Explore the following:

1. Create a lighting scenario that is active—where the light itself becomes the "lead character".
2. Create a passive lighting design—where the light simply reveals the subject and doesn't draw attention to itself.
3. Create a supportive lighting design, where the light plays an active, but ultimately supportive role. An example would be strong mood lighting, or atmospheric effect that embraces your subject. Hint: Diffusing the light variably can help. Shine your light through artificial blinds (as in class), dirty glass, or even a plant—something to break up the uniformity and imply a sense of setting. 
4. See what you get with natural light. Use your gobos (window blinds, foam core, mat board, or even dark sheet) to partially block windows and control the light....we can control natural light almost as much as we can artificial light.

Reading: Review reading from last week. Be prepared to discuss in class 1/30

Four Factors of Lighting, backgrounds

Read: Chapters 1, 2, and 5 (only pages 85-108)

Shoot:

Find an interesting subject that can be photographed on a table-top. Should be solid (relatively) non-glossy object.

• Create a flat background to shoot upon. Use paper (distressed, painted on, etc.), wood, sheet metal, or any kind of interesting material that will compliment your subject. Most likely, you will be shooting down on your subject. Use a single hot light and reflector. Create a series of still life images that show a variation of:

1. Color
2. Angle
3. Intensity
4. Character (Contrast)

• Create a distant, airy, diffuse background. Have it be far behind your subect. Shoot with a long lens at wide aperture to push it out of focus. Most likely, you will be shooting across to your subject. Vary the lighting on the background. Create a series of still life images that show a variation of:

1. Color
2. Angle
3. Intensity
4. Character (Contrast)

• For one of the above arrangements, shoot with natural light. Try to vary the four factors of light—to what degree is this possible with natural light?

The four factors, in some combination or another, contribute to all possible lighting designs. Is this true? How do your choices create volume/presence in your object? What brings it to life? What creates depth?

Due: 1/23. Bring images to class, ready to view on screen.

Tuning In to Light

For 1/19

Shooting:

Find instances of natural light that are truly unique events. Go beyond just recording subject matter. Look for interesting effects of light on surface, reflections, shadows, etc. Make pictures that isolate these things. Keep distractions out of the frame. Go on an adventure with it. Morning and late afternoon ("golden hour") can be nice times to do this. Prepare to discuss what you've found. Shoot many images (50+), plan to show 3-5.

Photographic Studio Lighting

(Image of Hiroshi Sugimoto)

The course will present foundational skills in photographic studio lighting. Both natural and artificial light sources will be explored for producing aesthetically and conceptually engaging artworks. A wide range of applications will be explored including still life, portraiture, classic lighting problems, and open creative projects. Experimentation and improvisation is highly encouraged. Topics will reference both historical precedents and contemporary practices. The course will culminate with a portfolio of work.