PROJECT : "Looking to See"
OBJECTIVES:
This project is an attempt to enhance and expand your visual perceptions of specific objects and their environments. Hopefully, as you make your photographs, you will begin to see the function ofobject/environment relationships in affecting how you see, interpret, and gaininsights and understandings of communication through pictures.Secondly, this project is concerned with the operations of your camera. Particularly the metering systems, and the manipulation of the equipment to get desired exposure settings.
REQUIREMENTS AND CONSIDERATIONS:
There are two parts to this project. One is a basic exercise in camera operations; the other is artistic expression. The most important part of this project is the demonstration of using the lens aperture controls to select a desired range of "depth of field". The second is an interpretive view of people, places, and objects. That is, to select and photograph a scene or situation which for you evokes a humorous response of one type or another. Acknowledging that there are diverse levels of technical expertise to be foundin this class, your involvement in the image making process should reflect your abilities. If your new to photography, concentrate on understanding the operations of your camera and its picture making control features. For those more knowledgeable, satisfy the essential technical requirements of thisproject while extending yourself to make more interesting pictures.
1. Select an object that is at least 24 inches in height, preferably larger. Select another smaller object which is about half the size of the first object. These objects must be free to move around. Choosing objects in this size range will avoid problems of your camera not being able to focus adequately close. You must be able to take pictures in which your objects fill the image. Small objects may require you to move so close to your objects to fill the camera'sview that your camera might be unable to clearly focus on the objects. Fuzzy, out-of-focus images are not acceptable for this project.
IMPORTANT: You are to use these chosen objects for both parts of this project. First to be used a subjects to demonstrate some technical aspects of picture taking, and secondly, as elements for your interpretive images. As it is desirable to make images which have humor, choose objects with which you can generate situations that are funny, witty, ironic, or totally absurd. (Or hopefully, to make an image that will at least generate a smile on the viewer.)When selecting your subjects, choose objects which can be easily moved around to save yourself a lot of physical labor. If you want, you may use other people, pets, or other living objects as subject. However, be forewarned that working with people and pets is usually more difficult as it requires their continued and unfailing cooperation.
To aid in selections of objects, particularly to find humor with the objects, consider the concept of a recognizable situation with the illogical/strangepresence of the chosen objects. Imagine images of your objects which reflect notions of "how things are" and how you might change those situations and relationships to generate humor. Think of the most incongruous, illogical, improbable situations you would expect the objects to be seen. The situationsare not only places, but also encompass ideas of strange uses or substitutions. Reality with a touch of fiction. You might consider aspects of these images as challenges to stereotypical perceptions and expectations.
Make an effort to have a central concept or point of interest in selecting the view to be photographed. If it's helpful, think of the image as having some kind of story or line of thought to communicate with the viewer. Most important is to keep your concepts relatively simple, direct and manageable. Limit your image to one or two very strong ideas to ensure the most success.
To foster an attitude of seeing and recognizing how the qualities of light affect what you see, consider such cliche phrases as "red hot fires","shimmering sunlight", "icy blue waters", "in the spotlight" and others. Implicit in these phrases is a description of a lighting condition which has connotations and references to various situations and/or activities. Very obvious lighting environment choices are day time or night time. It is hoped you can find more subtle variations to work with. There can be visual stimulation of thoughts through association with certain lighting effects (for instance, Christmas tree lights), and these thoughts can suggest other intellectual or emotional responses. Combined with the "visual vocabulary" to make imagery, lighting can communicate ideas beyond the literal interpretation of the picture. (You know, a picture is worth a thousand words.)
Try to vary and expand upon the possibilities for creating images. For example, choose really different camera positions or angles. Standing on your toes is not a significantly different angle from "straight-on", therefore, stand on a ladder or shoot down from a balcony. Similarly, shooting with your knees half bent is not enough of a variation; lay on the ground as you take your photographs. You've got to be adventuresome.
When photographing the image, make sure you are close enough or in a position to eliminate distracting side elements. If you can not "crop" or frame your subject in the camera to make an acceptable image, forget it! Find some other way to shoot. Don't waste your time on "almost" and "only-if" types of pictures. Try to develop a sense of being critical of what you shoot.
In this project, a major objective is to stress
the concept that the camera"sees" the world in a unique manner. The
camera's views the world with one eye, and with a singular point of
focus. Although present, most people are not aware of the
out-of-focus areas of their vision. The eyes are continually
adjusting focus, and the brain fills in many of the inadequacies in
one's vision. In contrast, a photograph is a record of just one set
of variables which occurred at the moment the picture was taken.
Consequently, a photo will show areas of good and poor sharpness,
blurring, and other optical effects not usually seen with the eyes.
The camera also selects and limits the view, so only a part of the
whole can be recorded. Most dramatically, due to looking with
only one "eye", a camera renders perceptions of distance quite
differently than the binocular, stereoscopic vision of most people.
Awareness of these factors in making images can offer a more varied
and effective use of your camera.
Set One: The control of exposure and Depth of Field.This portion of the project is about using and controlling the various mechanisms your camera utilizes to make a picture. You are going to make images which require you to manipulate your camera and it's lens. The pictures will be of the your two selected objects, photographed in different lighting situations. Several variations will be explored, the possibilities will depend upon the your camera's capabilities.
If your camera can do so, you will also make images which demonstrate deliberate variations of exposures. Intentional variation of exposures is called "bracketing." These variations will be to makes which are darker ("underexposed") and lighter ("overexposed") than the"normal" or correct exposure.
Set Two: The humorous pictures.These are the pictures of your humorous ideas about your objects. Develop at least two ideas or concepts in which your objects would generate a sense of humor for the viewer. To encourage exploration, please also submit at least one variation of each idea. Therefore, the minimum will be four (4) different images for this portion of the project. You may submit up to 12 images of other ideas and/or variations you create.
Instructions for
each of these exercises is given below.
The Technical Pictures
You are to make two series of pictures of your chosen objects. One series is to be photographed in mid-day sunlight. The second series is a repeat of the first, only photographed in the shade (without flash).
The basic set-up of your two selected objects for all the pictures is the same. You are to place the objects together with the shorter object in front. Space the objects about three feet apart (exact measurements not necessary.) Devise a simple but repeatable method of measuring the distance between the objects. Thus, when you move them, you can place objects at the same distance apart again.
Try to place your objects so that they are not right in front of anything which will be your background. The further away from the background, the better. Try to be at least six feet from the background.
Use your camera sideways, so that you will
be making vertically orientated images. The normal method of holding
35mm cameras gives horizontally orientated images. Move sufficiently
close to the set of objects such that the taller object is the full
height of the view as seen through the camera.
IMPORTANT: Just as your objects are to be the same distance apart, your position when you take your pictures is to be the same for all the pictures. Use the same focal length of lens for all images. If you then position yourself so that the tall object is the same size in all images, you will then be the same distance from the objects in all images. Changing the focal length of the lens (if you have a "zoom lens") or changing your relative distance from the objects in each image, will invalidate these technical exercises.
When setting up your objects also include a
small sign somewhere in the picture noting what the variables the
image is suppose to demonstrate. This will then make it easier to
tell the pictures apart after processing.
Photos with Non-adjustable Automatic Cameras
For those with cameras which do not allow for control of exposure variables,please take the following pictures:1. In the sunlight, one image in which you have focused on the tall object.
2. In sunlight, one image in which you have focused on the small object. These two images in direct sunlight will demonstrate great depth of field images.
3. In the shade, one image focused on the tall object.
4. If your flash becomes activated, or your camera signals to use the flash, move your objects to another shaded area that is not so dark. You want to be in a shaded area that is bright enough not to have the camera make flash pictures. For instance, shooting in a garage with its door open might be too dark, so try finding a situation where you are in the shade of a building or large tree. The difference is you want to have open sky overhead, but no direct sunlight on your objects. Clouds screening the sun also works, that is, the sky is blue with white clouds. Overcast skies or rainy days will most likely be much too dark.
IMPORTANT! When taking your pictures of objects in the shade, make sure that you are not in a position to take the picture such that the background is the sky or an area in direct sunlight. Take your pictures so that everything the camera sees is in the shade. If you do not follow these precautions, your camera's meter may measure the situation with undesirable results.5. In the shade, take one image focused on the small object. These two photographs in the shade should demonstrate a shallower depth of field compared to the image taken in direct sunlight.
This then completes your technical images. When you see your images after theyare processed, examine your images to see if you can see the differences indepth of field as your changed focus and lighting situations.
Photos with
Adjustable Cameras
For those with camera which do allow for control of exposure variables, please take the following pictures:1. With the objects in direct sunlight, take one picture in which you have focused on the small object. Use your camera's metering system to find a combination of shutter speed and lens setting in which the lens setting is at f/11, f/16, or f/22. (Need only one selection of f/stop.) This is the normal or properly exposed image, with a great depth of field.
2. Then take two pictures in which you change either the shutter speed or lens setting to vary the exposure by 1/stop: to bracket the normal exposure. (Details given below.) Take one picture with the settings to give you 1/stop overexposure (too light); take one picture with the settings to give you 1/stop underexposure (too dark).
3. Take the same picture as the first image, but use the camera's meter to find a shutter speed and lens setting combination in which the lens setting is at f/4, f/2.8, or f/2. (Or the largest aperture your lens allows.) Again, just select one combination. This will be the normal exposure, shallow depth of field picture.
4. Then take the two other pictures which bracket the normal or proper exposure ofthis shallow depth of field image: one overexposed, one underexposed.
5. Move the objects to a shaded area. If your camera has an automatic flash function, be sure you find an area that is not so dark as the flash becomes activated. You do not want any flash pictures.
IMPORTANT! When taking your pictures of objects in the shade, make sure that you are not in a position to take the picture such that the background is the sky or an area indirect sunlight. Take your pictures so that everything the camera sees is in the shade. If you do not follow these precautions, your camera's meter may measure the situation with undesirable results.6. Focus on the smaller object in front. Use your camera's meter to find acombination of shutter speed and lens setting in which the lens is at f/8, f/11, or /f16. This will be the great depth of field shot taken in the shade with a normal exposure. Shutter speeds will be longer that those use for sunlit images.
[NOTE:] Proper exposure with the lens set at f/11 tof/22 requires much light. You will find that the shutter speeds will be slow. To avoid too much hand shaking of the camera, find a way of bracing yourself and the camera. Use a solid support like a box, tree, or tripod. Slight movements of the camera will blur the image.7. Similarly, take the corresponding shallow depth of field picture of the objects in the shade with a normal exposure. That is, the lens setting in at f/4, f/2.8, f/2, or whatever is the largest aperture your lens allows. This completes the technical shots. You should have a total of six images, four taken in direct sunlight, two taken in the shade.
How to make Bracketed
Exposures:
To get 1/stop more exposure: Using the camera's meter reading as astarting point, either decrease shutter speed one step (like 1/125 to1/60) or open the lens aperture one increment more. Remember, the numbers for f/stops on the lens go backward. So to open the lens one stop would mean moving the aperture control to the next lower number (like changing f/8 tof/5.6).
To get 1/stop less exposure: Either increase shutter speed one step, or close down the lens aperture one increment (go to the next higher number setting).
Important: When "bracketing" exposures, just change one control (either the shutter speed or lens aperture), not both. However, if your camera has automatic exposure controls, manually changing the exposures will usually make the camera signal an error in exposure. Disregard the signals, and just shoot at the manual settings.
If you have an automatic camera with built-in
bracketing adjustments, you can utilize this feature to make the
exposure variations. The usual exposure setting is at "normal", most
often marked as 1x or "0" (zero) setting. For overexposure brackets,
use the 2x or +1 setting to get 1/stop more exposure. For
underexposure brackets, use the 1/2x or -1 setting to get 1/stop less
exposure. If in doubt, consult your camera's operations
manual.
Use the note cards in your pictures to
identify the lighting situation, lens settings, and the shutter
speeds used. You will need this information to label your images that
you submit for grading.
The Humorous Pictures
You are given the widest latitude for the
design and photographing of these images. The only requirement is
that the images be designed around your two selected objects, and
some attempt is made to create an amusing image.
For those not totally confident in use of
your camera, it is suggested you make your pictures outdoors in the
sunlight. This will avoid most of the exposureproblems encountered
with indoor shots. If
possible, DO NOT take pictures with the flash!
Try to use just the naturally occurring light, either sunlight or the
existing electrical lighting.
Remember, there is a limit to how close any
camera will focus, so be constantly check how far you are from your
subjects. Similarly, taking pictures too far away from your subjects
will often allow too much of surrounding area to distract from your
subjects. As you view your subjects through your camera, not only
concentrate on the objects, but also check to see what is around
them. It is possible that a stronger image can be made if "messy" or
unnecessary backgrounds and surroundings can be "cropped out" of the
picture.
When shooting your images, consider the following possible variations for the each setting of your objects: pictures from extremely varied camera positions, extreme changes in lighting or exposure, and/or variations of the details around the object (the props, backgrounds, etc.) If your camera allows, also take bracketed exposures of each situation. These variations might prove to be more interesting, or suggest other ideas to you about how to design your images.
Use your camera's metering system to find the "normal exposures" to photograph these images. If your camera has an automatic programmed exposure option, you may use this camera feature in taking this set of photographs. The emphasis for these pictures is how well your images communicate or share ideas. Give more emphasis on ideas, and less emphasis on techniques.
As stated earlier, you are to create at
least two humorous situations to photograph. If you have only two
ideas, shot at least one variation of each idea; change camera angle,
lighting, or any other variable you can control. Hopefully, you
will be able to generate many more than just two ideas. You may
submit up to 12 images for this part of the project.
WHAT TO SUBMIT:
You must have a group of images demonstrating your camera's capabilities in depth of field and exposure control techniques. Failure to have these images will require you to do this part of the project again. Label each of your depth of field images with the lighting situation, focus point, and if applicable, f/stop and shutter speed you used to make the picture.
A group of at least 4 images of humorous situations of your object. The four images must be four very different presentations of your object. You should have at least two ideas, with at least one variation of each idea. In thisgroup of images, it is not necessary to submit the bracketed images of the images, submit only the exposures you like best. You do not have to labe lthese images with exposure data. You may submit other additional images (up to12) for this part of the project.
Quality is more important than quantity. A dozen poor images is worse than having only one good image. Be selective and critical in determining what images you submit.
You will be required to show 3 or 4 images
in class, so choose your most interesting images to share with the
class. Submit the other images to the instructor. Be sure your
name is on all images.