Final Portfolio

Final portfolio:

Due: Wednesday, 4/25

This course will require a final portfolio, consisting of the following:

• 20-30 jpegs (1200 pixels, longest dimension)
• Submitted to server in an organized folder
• Files named properly (see below)
• Although you are submitting jpegs, please retain all RAW and photoshop files for your own, future use.

The portfolio should consist of your very strongest work from the assignments, projects and general shooting from the course. Be very selective in what you include. The portfolio should include:

• 3-5 images from various assignments
• 3-5 images from project 1
• All final images from project 2
• Before and after restoration/retouching (2 jpegs total)
• Project 3 image (plus variations, if desired)
• 3-5 project 4 images (optional)
• The remaining images (if any) from 

Each image should be labeled in such a way as to make it clear what category it is.

For example

george_assignment3_1.jpg

george_project2_1.jpg

george_project2_2.jpg

etc...

Extra Credit Project

Create a group of 5-7 images around a subject, theme, concept, idea or aesthetic of your choice.

Criteria:

• Final images should be selected from the efforts of at least three distinct shooting sessions, shot specifically for the project
• Images should be visually related, around the subject, theme, concept, idea or aesthetic
• Turn in 1200 pixel JPEGS processed from edited PSD files
• Listen to your inspiration. Do it not for the grade, but for your curiosity.
• You have the tools and the skills. Your intention can make it happen.

Due: 4/25

Incentives. This optional project can benefit your final course grade in one of the following ways:

• If the project is at the "C" level (or lower), it will raise your final grade by 1 percentage point
• If the project is at the "B" level, it will raise your final grade by 3 percentage points
• If the project is at the "A" level, it will raise your final grade by 5 percentage points

Retouching

Due 4/25

Choose one of the following, or both (an additional for extra credit).

• Restore old, damaged photograph
• Retouch portrait image (recently made image)

All images must be of sufficiently high resolution to support deep fixes. Choose images that could clearly benefit from restoration/retouching. Please consult with instructor, if unsure. Please use non-destructive techniques, as demonstrated in class. 

Final file should be sufficient resolution to be printed letter-size at 360 dpi.

Turn in:

1. Jpeg of original file/image (or original image included as a layer in your final PSD file)
2. PSD file with all supporting layers
3. Print

white screen shooting

Monday 3/26

Emma Junck
Rhianna Israni
Aleiah Briggs
Grant Tolson
Candace Von Hoffman
Brooke Carroll
Jordan Williams
Hanna Terry
Azad Patel
Caitlin Colditz

Wednesday 3/28

Lauren Bellamy
Madison Smith
Anna Lipson
Georgia Sheridan
Dana Tokarzewski

Alana Guarino
Kali Sturgis
Paige Torre
Anna Crain
Lane Pernell
Sam Hughes

Project 3: Fictional Reality

Due Dates:

• White Screen production shooting: Monday 3/26 and Wednesday 3/28
• Preliminary critique Monday 4/16
• Final critique:  Wednesday 4/25 

Turn in:

• Print on 13x19 paper (Hand in)
• Final PSD file, with all layers and masks, reduce to 1200 pixels, longest size (use image processor to do this) (On server)
• 1200 jpeg (On server)

©Loretta Lux

©Kelli Connell

Create something that is both possible and impossible, at the same time. Explore the line between fantasy and reality.

Create a character and place them in an environment or situation that might be strange, surreal, or simply, weird. How is the line between fantasy—reality blurred? Consider myths, fairy tales, other stories. Or make something up.

Move beyond the simple and silly to something that works on multiple levels. What questions are raised? Beyond that, anything goes. There is plenty of room for creative interpretation. 

Think big for this one... costumes? styling? props?

Integrate the subject with the unlikely background/situation. Unify lighting direction, scale, point of view, shooting angle, etc., so that it truly appears that the subject is occupying the unlikely place.

There are just a few technical ground rules for this project.

1. At least one of the main subjects should be shot with white screen techniques
2. The white screen subject should be masked and appropriately integrated into the new background, with scale, perspective, point of view, light quality and direction convincingly matched.
3. The finished image should "read" realistically and convincingly as a single, genuine photo
4. At least 18" x 24" @360 dpi. All component pieces should be at adequate resolution

Gregory Crewdson
Grace Weston

Kahn and Selesnick

Bill Finger

Sarah Anne Johnson

Loretta Lux

Wendy McMurdo

Kelli Connell

Cornelia Hediger

Gillian Wearing

Student Work:

Critique Groups

A

Anna Crain

Anna Lipson

Kali Sturgis

Hanna Terry

B

Caitlin Colditz

Alana Guarino

Georgia Sheridan

Paige Torre

C

Brooke Carroll

Rhianna Israni

Madison Smith

Grant Tolson

D

Sam Hughes

Candace Von Hoffman

Lane Pernell

Dana Tokarzewski

E

Lauren Bellamy

Azad Patel

Aleiah Briggs

Jordan Williams

Assignment 7: Showing Motion

very fast shutter

moderately slow shutter (1/30th)

Pan shot (very slow shutter)

overall blur (very slow shutter)

In each of the examples above, how are the images affected by shutter speed? How can creative use of shutter and/or camera movement create different impressions of time and movement?

Use shutter priority. This is "Tv" with Canon, "S" with Nikon. This is an automatic mode where the camera chooses an f-stop based on the shutter speed that you specify, based on available light. 

ISO can also factor in to this exercise. Some guidelines: To freeze a fast moving subject, shoot with ISO 400 or 800 (depending on light available). For long exposures (drag shutter) and panning shots, shoot with the lowest number ISO available, and perhaps shaded light.

Create interesting examples of the following:

• Freeze a fast moving object with a fast shutter speed, 1/500 second or faster. Use higher ISO, if light conditions require.
• Create the impression of blurred moving object passing across a stationary background with a slower shutter speed (drag shutter). Try 1/30. Make sure camera is as stable as possible, using lens stabilization, if you have it. Use lower ISO, if light conditions require.
• Track a moving subject across a background, with 1/2 to 1 second exposure, creating a PAN shot. For this shot, use a very low ISO, high f-stop, and shoot in deep shade. Use lowest ISO possible.

Suggestions: For all of the above...have all motion occur across the frame rather than coming directly toward or way from the camera. Also, get in close to the subject so that the sense of motion fills the frame.

How creative can you be with these examples? Originality will be rewarded!