Final Portfolio

The final portfolio consists of the very strongest work created in this course. Images can be pulled from projects and/or assignments. All work should be original work created for this course.

The portfolio will be evaluated as a separate entity from the original projects from which images were drawn. So this provides an opportunity for images to be improved for the portfolio. Editing is also important—choose images carefully. Do ask classmates and instructor for feedback on choices. 

The portfolio consists of two parts:

1. Digital.
• 12 images, 1600 pixel jpegs, high quality
• Due 12/5
2. Print. You have a few options here...
• 8 of the above images, high quality inkjet prints, presented in either a portfolio book (plastic sleeve pages), or window matted.
• Images may be printed by you, or purchased from the print lab.
• Print quality is important. Pay attention to tone, color, and problems such as banding. Laser prints or low quality inkjet prints not acceptable.
• Due 12/5

Open/Final Project

The third project is open. Proposals must be approved. Use most appropriate studio lighting techniques.

The proposal should include specific examples from your visual research, including images. How do you contextualize your starting point, conceptually, aesthetically, lighting design?

Create something completely original—really go for it! Creativity will be rewarded.

Grading criteria:

• Originality
• Creative and refined lighting
• Technical (camera and photoshop work)
• Sufficient development of project from preliminary through final critique

Proposal:11/14, 1-2 pages, graded.

Preliminary critique: 11/28, graded.

Final Critique: 12/5. Final files and prints due.

Portrait Exercise, Week 2

Multiple Lights, Ratios.

Group Work

1. Set up main light, for Rembrandt, using a small soft box
2. Set up an umbrella fill
3. Set up two kickers, with grid spots, or barn doors to minimize flare
4. Set up background light

Shoot reference shots sequentially, so there is a record of how the setup is built, recording each addition of a new light. Make sure the exposures and respective intensities of the lights are balanced appropriately. 

Once the setup is optimized, shoot the following ratios:

Main/Fill

1:1, 1:2, 1:4, 1:16, no fill. 

Individual Work:

"Artsy" version. The background must be more than just a convenience—be creative

Human Form

Ruth Bernhard

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. Strobes should be used in one fashion or another, either as primary lighting in the studio, or support lighting when on location.

The work will be evaluated on:

• Proposal—who are your inspirations for lighting, concepts and approaches? Discuss at least three.
• Originality of Idea/Ambitiousness of Imagery
• Arrangement and Design
• Lighting Design
• Photographic Craft and Technique
• Development of Project
• Prints

Prelim Critique: 11/5 (Monday) 

Final Critique: 11/14 (Wednesday) revised

white line / black line glass

From demo...no retouching just yet. You might be able to see all the dirt, if you look closely. Also some odd/weird reflections in the first one. Not sure what created  them. The horizon line on the low-key image is still too pronounced. But these are going in the right direction. Let's see where you all can take it from here...

Windgate $$$ available to support your art project.

Want some money to fund an art research project?

*Includes both Art History and Studio Art

Apply to become a Windgate Research Fellow!

An information session will be held Friday, September 21^st at 1:00 pm in Garland 203

   

For more information, stop by our office in

Garland 103!

Creative "Still Life" Project

What do we mean by "still life"?

There is some room for interpretation within a few ground rules:

• Primarily inanimate objects, or animate objects that are treated as still objects...
• A supportive foreground
• A supportive background
• Creative lighting design that uses techniques covered in class, or that goes even further... 

The project should have some cohesiveness of subject / concept / visual qualities. Look at the work of artists you admire for inspiration.

Turn in a group of 6-10 portfolio images. These should represent both variety and cohesiveness.

What to turn in:

1. 1200 pixel jpeg versions of all your final images
2. 4 high quality prints, that you printed yourself on one of the desktop printers. Using a school printers is recommended as these are color calibrated. Only use your home printer if you can achieve equal quality. Color balance is important.
3. Go through the exercise of preparing a file for an enlarged print. The print should be 16 x 20, 360dpi, enlarged using recommended method. This file needs to be turned in by the end of class on October 1.

Final critique is October 3. All work is due by the beginning of class. The large format print will be made ready by critique, provided your file was turned in on time.

Progress critique: Monday, September 24. 

Projects will be be evaluated on the following criteria:

1. Project explores the subject in an exciting way
2. Project is fully explored/realized
3. Lighting design(s)
4. Still life design(s)
5. Technical skills (camera, photoshop, etc.)
6. Prints

For Monday 9/17

Exercise:

Shoot in groups, but turn in images of your own. Use this collaborative time to discuss and suggest approaches and strategies amongst yourselves. Help each other out!

Using the objects you have selected, create a group of photographs using studio strobes.

Explore active versus passive light, light direction, and contrast as you've learned them so far, but this time using strobes. How does the choice of equipment change things?

Work will be evaluated on the following:

• Effective lighting design
• Correct use of light meter/exposure
• Solid camera skills (focus, depth of field, etc.)

For Monday, 9/10

Spend some time searching your soul, as well as some physical objects. Find some things that you resonate with—and that you think will photograph well. In the past, this has run the gamut from old books, to sacred objects, family artifacts, to animal bones, to... you name it. But do make sure it is something you could really explore for a while.

Find or create a background that compliments these objects.

Create a series of photographs of these objects. Explore how both passive and active lighting designs reveal your object in different ways. Perhaps you discover a balance between these polarities... light that is just active enough to bring some additional interest to your subject without taking over. Try all options. Bring your images to class and be ready to share what you discovered.

Next week we start to work with strobes. It is important to bring your hot-shoe synch.

Everyone needs to be present on Monday for the demo. We will begin in-class shooting with the following routine. Due to our limited facilities, we will rotate through the studio the following way for the first few weeks. After a few weeks, we'll rotate the groups so that every group has a chance to shoot on Monday.

Monday. Group 1 (Amelia, Elizabeth, Jennifer and Sara) will shoot in the studio the second half of class. Please bring a few of your object to class to shoot. We'll be going over some new things. Groups 2 and 3 should make best use of your time during this time—you can certainly hang out and watch.

Wednesday will be shooting for Group 2 (Antwon, Li, Heather, Kyle) and Group 3 (Michelle, Catherine and Joi). Group 1 should make best use of your time on Wednesday—you can certainly hang out and watch.

Active and Passive Light

Due Wednesday 9/5

Read: Chapters 1, 2, and 5 (only pages 85-108). Be ready for discussion.

Shoot:

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 36 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 a "lead character" in the drama
2. Create a passive lighting design—where the light simply reveals the subject and doesn't draw attention to itself.
3. See what you get with natural light. Use gobos ("go-betweens". window blinds, foam core, mat board, or even a dark cloth/sheet) to partially block windows and control the light....we can control natural light almost as much as we can artificial light.

Factors of Light

Shooting:

This exercise will explore some of the important factors of light. Generally, there are four: Color, Angle, Intensity and Character/Contrast. We will be concentrating on Angle and Character/Contrast for now.

Find an interesting subject that can be photographed on a table-top. Should be solid (relatively) non-glossy/shiny object. The images may be shot at home or the lighting studio (if available).

• Create a flat background to shoot upon. Use paper (distressed, painted on, etc.), wood, sheet metal, ceramics, 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. Angle of Light
2. Character/Contrast (Explore hard vs. soft light for now)

• For one of the above arrangements, shoot with natural light. Try to vary the 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: Wednesday 8/29. Bring images to class, ready to view on screen.

Warm-Up

For 8/27

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 5-10.

Welcome!

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 are highly encouraged. Topics will reference both historical precedents and contemporary practices. The course will culminate with a portfolio of work.

Examples of student work from recent years: