1 / 11

Group Presentation from the Digital Dynamos

Group Presentation from the Digital Dynamos. Jeffrey Wallace, Cliff Kicklighter, Leah Doughman, Gina Braden, and Teresa Ray. P1: Portrait. Teresa Ray. Focus on eyes of subject Shallow depth of field Capture Personality Experiment with props Experiment with lighting Fill the Frame

aricin
Télécharger la présentation

Group Presentation from the Digital Dynamos

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Group Presentation from the Digital Dynamos Jeffrey Wallace, Cliff Kicklighter, Leah Doughman, Gina Braden, and Teresa Ray

  2. P1: Portrait Teresa Ray Focus on eyes of subject Shallow depth of field Capture Personality Experiment with props Experiment with lighting Fill the Frame Candid or posed

  3. P2: Scene Mode Jeffrey Wallace I thought this picture came out great since it was one of my first. In close-up mode it is important to remember that stability is key, and this is usually accomplished with the use of a tripod. It is also important to remember that there are limits on how close you can get and still maintain the focus and depth of field you are going for. Patience is a must when working with animals in close-up and there are times when you have to actually stalk your prey(subject). Even if you get within reach of your subject you may have to settle for angles or perspectives that are not perfect. I learned a lot from this assignment and it gave me a deeper appreciation for the difficulty faced when working in close-up mode, especially with animals.

  4. P3: Depth of Field Cliff Kicklighter Use a tripod. Use smaller aperture settings for a wide depth of field. Use larger aperture settings for a shallow depth of field. Learn your camera’s settings to obtain a better depth of field.

  5. P4: Select an Assignment Leah Doughman Chose photo with an extreme close-up and of flowers. Fun assignment Macro Mode Have to watch the depth of field; can sometimes lead to poor depth of field. Think about what you want in focus. Great way to get to “play” and experiment with camera. Played with the coloring when editing.

  6. P5: Light and Shadow Cliff Kicklighter Experiment with your cameras exposure to either darken or sharpen the shadows. Experiment at different times during the day. Make sure the lighting is in front of the subject. Make the shadow your main subject. Shadows can set the mood of the photo.

  7. P6: Rule of Thirds Leah Doughman Difficult assignment Still allowed me to achieve good composition. “Grid line thinking” helps. Great for repetition, geometry, and lines. Needs a foreground and background. It depends on how and what you want to fill your foreground and background. Like the choice! Challenged the way I normally took pictures. Cropping picture since it was taken from the road. Brighten due to lighting.

  8. P7: Flash, Night Time, or Reflection Gina Braden Create beautiful images Reflective sources: windows, water, mirrors Change an image to a work of art

  9. P8: Double-Exposure or Creative Filter Gina Braden Layers are like sheets of acetate, transparent except where there is artwork on them. Layers have opacity sliders so you can allow the background or underlying layers to show through. Layers can be reordered by dragging the layer up or down in the layers palette. You can have up to 100 layers depending on computer memory.

  10. P9: Transforming Objects Teresa Ray Extreme Perspectives Bird’s eye view: Camera at extreme high position (aerial, towers, tree, etc.) Focus on particular object for true-to-life bird’s eye view Worm’s eye view: Camera at extreme low position (ground level of a tree, etc.)

  11. P10: Atmospheric or Ambiguous Space Jeffrey Wallace While this was not my favorite assignment, I can tell you that valuable lessons were learned. Unlike photos taken in a controlled environment, when working with atmospheric space it is a waiting and timing game. If you see a cloud formation you would like to photo but have to go inside for the camera you will probably miss the shot. Unlike most of our assignments, we were at the mercy of Mother Nature, and she controlled this assignment in many ways. With these types of shots I think you either have to get lucky or devote a lot of time in order to get a great shot. I also found that what I saw through the lens was different from what I saw on my computer screen. The point is that you can always erase bad pictures if you take to many, but you cant go back if you are unhappy with the ones you took. Overall I was not as pleased with this photo as some of my other, but I would put this assignment toward the top from a learning from mistakes standpoint.

More Related