Feb 11 meet-up. Harford County Photography Group

Transcription

1 Feb 11 meet-up Harford County Photography Group

2 Announcements Quote of the Month Masters of Photography Edward Curtis Add CLASS to Your Photography Walt Polley $ Raffle Drawing

3 Future HCPG Meetings March 11 Leo Heppner Exposure & Metering Location: Pizza Hut April 8 Les Picker Travel Photography Location: Pizza Hut May 13 Dave Gigliotti Bird Photography Location: Pizza Hut

4 Upcoming show-and-tell Sessions Havre De Grace Public Library Meeting Battelle 1204 Technology Drive Aberdeen, MD Mon, Feb 23 Image Design and Capturing Light Mon, Mar 23 Add CLASS to Your Photography Mon, Apr 27 Exposure and Metering Mon, May 25 Travel Photography???

5 Upcoming Photo Shoots Exposure and Metering Activity:? Location:? Date and time:? between Mar 12 and Apr 26 Meet-up mentors:? Exposure and Metering Activity: Romancing the Chrome Car Show Location: 3722 Norrisville Rd, Jarrettsville, MD Date and time: Saturday, Apr 11, 10:00 to 4:00 Meet-up mentors:?

6 Upcoming Photo Shoots Travel Photography Activity:? Location:? Date and time:? between Apr 9 and May 24 Meet-up mentors:? Travel Photography Activity:? Location:? Date and time:? between Apr 9 and May 24 Meet-up mentors:?

7 Seminars and Educational Opportunities

8 Horizon Photography Summit February 27, 28 and March 1 University of Delaware, Wilmington, DE 16 Pro Photographers - 30 Different Classes Discounts of 10% for 4+ Registrations

9 Lightroom and Photoshop Seminars Hold these Saturday Dates: February 21 April 18 June 20 August 15 HCPG and Harford Community College are working together to design and implement this exciting educational opportunity. Stay Tuned!!!!

10 Upcoming HCPG Training Sessions Lightroom Session 1 Location: Battelle, 1204 Technology Drive Date and time: Sat, Feb 21, 9:00 to 2:30 Cost: $10 per person Bring your computer with Lightroom installed Lightroom Session 2 Location: Battelle, 1204 Technology Drive Date and time: Sat, Apr 18, 9:00 to 2:30 Cost: $10 per person Bring your computer with Lightroom installed

11 Just a Few More Announcements to Listen to

12 February Special Be Our Valentine Pay In Advance and Save Attend all Regular Wednesday Monthly Meetings in 2015 for $25! Pay Tonight and You ll Save In Addition to Saving A Few $$ - You Don t Have to Worry About Paying Each Visit, and You ll Help the Club With Cash Flow!

13 Quote of the Month I think the emotional content is an image s most important element, regardless of the photographic technique. Anne Geddes

14 Edward Curtis ( ) Masters of Photography

15 Born and raised in the mid-west (Wisconsin and Minnesota) At age 17, Curtis became an apprentice photographer in St. Paul. At age 19 the Curtis family moved to Seattle where Edward purchased a new camera and became a partner in an existing photography studio. He later established his own studio. In 1895, Curtis met and photographed Princess Angeline, the daughter of Chief Sealth of Seattle. This was his first portrait of a Native American. Based in Seattle Curtis became one of the premier portrait photographers in the US.

16 In 1898, three of Curtis images were chosen for an exhibition sponsored by the National Photographic Society.. Also in 1898, while photographing Mt. Ranier, Curtis came upon a small group of scientists, one of whom was an expert on Native Americans. This scientist became interested in Curtis and invited him to join an exhibition to photograph the Blackfeet Indians in Montana in In 1906, J.P. Morgan provided Curtis with $75,000 to produce a series on the North American Indian. The work was to be 20 volumes with 1,500 photographs. Morgan s money was only for fieldwork for the books, not for writing, editing or the production of the volumes. Curtis himself would receive no salary.

17 This project was to last more than 20 years! 222 complete sets were eventually published. Curtis goal was not just to photograph, but to document, as much American Indian traditional life as possible before that way of life disappeared. He took over 40,000 photographic images from over 80 tribes. Curtis made over 10,000 wax cylinder recordings of Indian language and music.

18 He recorded tribal lore and history, and he described traditional foods, housing, garments, recreation, ceremonies and funeral customs. At the end of 1912 he created a feature film depicting Native American life. Curtis work was a financial failure. He used personal funds and money generated from his studio to fund the project. Around 1922, Curtis moved to Los Angeles and opened a new photo studio. To earn money he worked as an assistant cameraman for Cecil B. DeMille. In 1928, desperate for cash, Curtis sold the rights to the project to J.P. Morgan s son.

19 In 1930 he published the concluding volume of The North American Indian. In total, about 280 sets were sold. In 1935, the Morgan estate sold the rights to Charles E. Lauriat in Boston. Unsold sets were stored in a basement and rediscovered in Curtis died of a heart attack in 1952 in Los Angeles.

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32 Edward Curtis ( ) Masters of Photography

33 Harford County Photography Group February 11, 2015 Add CLASS to Your Photography

34 Add CLASS to Your Photography A catchy way to remember the basics of photography and incorporate these essentials CLASS. Here is what the CLASS catchphrase can remind us of, with each letter as a signifying a key element of photography.

35 Add CLASS to Your Photography C stands for composition. L stands for light. A stands for aperture. S stands for shutter speed. S stands for subject.

36 Add CLASS to Your Photography We will review these five basic elements of photography. Then we will learn four basic steps to analyze your images. Based on this knowledge, we will discuss five steps to quality photographs.

37 C - Stands for composition Composing a picture is something like arranging furniture and decorating a room. When you get everything put in place so that it pleases your eye and is comfortable to you, you know it. When composing a picture, you want to arrange the parts of the picture so that they are pleasing to the eye.

38 C - Stands for composition An old guide for art applies very well to photography: the rule of thirds. It is one of the best ways to improve the overall design and arrangement of picture elements in our photos. What this rule does is divide the picture frame with two horizontal and two vertical lines. The horizontal and vertical lines will intersect in four places.

39 C - Stands for composition The Rule: Place a key point of interest at one of these four intersections. Learning and using it will definitely improve our pictures. There are times when it's ok to ignore the rule. But understanding it will also help us to know when it's ok to ignore it.

40 L - Stands for light Photography is all about the light. There could be no photos without light. Light illuminates the color, contrast, shading and tones, shapes, forms and helps us to give the illusion of depth and distance, adding 3-D effects to a two dimensional image.

41 L - Stands for light We should look for unusual or beautiful light or the great things that light can do to a subject. We can use front lighting, side lighting and back lighting to get different effects.

42 L - Stands for light We should study the light when we look at a scene, indoors or out, and see what the light is doing to it. What is the intensity of the light, its direction, its mood and its color? What can we do to make the light more dramatic or contribute that extra touch to the subject?

43 A - Stands for aperture We control the amount of light coming to the sensor by means of the aperture. One way to have control over the aperture or f/stop is to use Aperture Priority mode. Learning the f/stops will help us to know which of them is appropriate for our purpose. It's like different sizes of garden hoses. If you want more water at once, you need a bigger hose. The size of the hole in the hose determines how much water goes through at one time.

44 A - Stands for aperture But the aperture does one other thing. It also determines how much of the scene will be in focus. The bigger the aperture (size of the hose), the smaller the area that will be in focus. The smaller the aperture, the more of the subject area will be in focus.

45 A - Stands for aperture Here a smaller aperture (like f/11, 16 or 22 for example) means more depth of field, so more of the image is in focus.

46 A - Stands for aperture If you want a narrow DOF to make what's in focus jump out at the viewer against an out of focus background, use the smaller numbers, such as f/2.8, f/4, etc.

47 S - Stands for shutter speed Just as we control the amount of light that comes through the lens with the aperture size, we control how long the flow of the light continues with the shutter speed. The aperture is like the size of the garden hose. The shutter speed is like the length of time you run the water. Shutter speeds are similar to aperture settings in that the higher the shutter speed, the less light flows because the exposure time is less.

48 S - Stands for shutter speed If you want the picture to be tack sharp, you can control that with a fast shutter speed.

49 S - Stands for shutter speed If you want some blur to suggest motion you can get that by control of the shutter speed too, by using a slower speed.

50 S - Stands for subject The subject you choose and how you present it can make or break a photograph. One way to get images that grab the attention of the viewer is to look for what interests you or attracts you. Then analyze why you were drawn to the subject. What was it about it that drew you to it? Was it the way the light hits it? Is it something unique about the object, its shape, colors, or beauty?

51 S - Stands for subject When you have determined the center of interest, what it is that interests or attracts you, then you know what to highlight or emphasize in the picture. Analyze how to photograph the subject in such a way that you convey that interest or appeal to others who view it.

52 S - Stands for subject Creating a photograph often is a process of elimination. You eliminate elements in the picture frame, or other distractions until what is left all contributes to the picture you want. This process of elimination and organization, of changing one's point of view, of emphasizing the key interest and making it stand out from all the rest, can add CLASS to your photographs

53 Four Basic Steps To Analyze Your Images Check technical execution Did you use the proper camera settings? Is the photo properly exposed? Is it sharply focused? (Unless soft focus is part of the photo's purpose) Study the composition Are there pleasing arrangements of picture elements? Did you use leading lines Were distractions eliminated?

54 Four Basic Steps To Analyze Your Images Review the picture's concept What was your photo idea? Is it unique or is it ordinary? Does it reflect originality? Determine the impact Did it capture attention? Does it show bold visual design?

55 Five Easy Steps To Quality Photographs 1) Determine The Center Of Interest 2) Isolate The Subject 3) Study The Composition 4) Set Up The Shot 5) Create The Picture

56 1) Determine The Center Of Interest Attraction To make quality photographs, you need to respond to what attracts you, what draws you and brings out feelings and emotions. Take time to analyze the subject and find out what interests you about it.

57 1) Determine The Center Of Interest Interest What got your attention? What is the attraction? What is it that interests you about it? Why does it interest you? What is your main focus? Does it demand attention? What is most appealing about it? Does it stir your emotions?

58 1) Determine The Center Of Interest Message When a subject attracts your attention and you become interested, that object has conveyed some message to you. The message is read by your thoughts or emotions, and you respond to it. What is the message with this object? How did it relate to me? Did it cause me to reminisce about the past? Did it stir emotions - such as beauty, sadness, joy, or love? If you cause others to think and feel, you succeeded.

59 1) Determine The Center Of Interest Importance We have all seen photos that really aren't very good, photos that make us wonder why they were made. It may be that the picture reminds the maker of the events associated with it. There is nothing in the picture of value, we just remember when it was taken, an occasion we remember fondly. In this case, the photo likely has little importance to others.

60 1) Determine The Center Of Interest Practical Exercise. Take a walk without your camera. Use a view frame to practice seeing pictures. Take a notebook with you. When something attracts your attention, pause and reflect. Determine what it is that got your attention. What is the attraction? Is it a mood, lighting, beauty, message, or the memories it instills? Write down your thoughts on the following points: Attraction - What is attracting you? Interest - Why does it interest you? Message - Is there a message, what is it? Importance - Would it be important to others? Do this at least five times, stopping to analyze objects that capture your attention. Take good notes. Use these notes later when you go out with your camera. Refer to them and use them to make a photograph of the object of interest.

61 Practical Exercise #1 Attraction What is attracting you? Interest Why does it interest you? Message Is there a message? What is it? Importance Would it be important to others?

62 My Solution PE #1 Attraction - What is attracting you? Jack in the Pulpit Interest - Why does it interest you? Wonderful purple and greens Sometimes hard to find First ones of the year Message - Is there a message; what is it? Beauty and Peace Importance - Would it be important to others? Delicate beauty and restful peace are found in nature

63 2) Isolate The Subject The subject The object of interest is the subject for your photograph. The center of interest drew your attention and held your interest as you analyzed it. It is what you want to draw the viewer's attention to and cause them to respond in the way you did. All of the things that compete for visual attention make it difficult to concentrate on an object that interests us. They cause us to overlook distractions that might affect our picture.

64 2) Isolate The Subject The subject Isolating the subject from all the distractions helps your image communicate its message. It will focus all the attention where you want it to be. The photo needs to isolate the subject and present it clearly. There are three key elements of isolating the subject center of interest, setting it apart, and placement in the picture frame.

65 2) Isolate The Subject Center Of Interest What makes up the center of interest? Having your subject clearly in mind will help you center your attention on the subject and also recognize what should not be there. It will help if you can verbalize it or write it down. If you can explain it, you can present it in a picture.

66 2) Isolate The Subject Setting It Apart How can I best isolate the subject and set it apart from other subjects? There are a variety of ways to isolate the subject you can frame it with foreground objects, you can lead the eye to it with graceful lines use contrast and colors, or other means of separating it from other picture elements. Use other elements to center attention on your subject. Cause the subject to stand out from the rest of the image.

67 2) Isolate The Subject Placement In The Frame Where you place the subject in the picture frame will affect how well it stands out. Consider using the 'Rule of Thirds' for placing the subject in the frame. If you place the center of interest at an intersection of the lines within the frame, it will be more attractive to the viewer. When the subject is on one side or the other and facing inward, the photo with be more dynamic and imply action. You are free to break the rules when it would provide more impact.

68 2) Isolate The Subject Practical Exercise. Open your notebook and review the five subjects you recorded. Take your camera and return to the same location. Walk around each object of interest. Look through your camera's viewfinder and notice how other objects that compete for attention. Move around or forward and back to see changes in your perspective. Record the following information: Center Of Interest - Focus on the subject How To Isolate The Subject - How can I make it stand out? Placement In The Frame - Where should I place the subject? Write an explanation for each of the five subjects in such a way that a novice photographer could understand you and be helped to isolate the subject. The goal of this exercise is to slow down and think about what you would do to make a good picture.

69 Practical Exercise #2 Center Of Interest How can I focus on the subject? Isolate The Subject How can I make it stand out? Placement In The Frame Where should I place the subject?

70 My Solution PE #2 Center Of Interest Focus on the plant Move closer Get on the ground How To Isolate The Subject Control the light Cause shadows in the background Placement In The Frame Right side of frame Full curve of the cap

71 3) Study The Composition Composition A pleasing arrangement of the elements of a picture. Study the object of interest. Consider how you can arrange a photograph that will focus on that subject, with all the elements working together. We all respond to an object of interest. It may be the beauty of lines, shapes and color, or dramatic lighting. We naturally react to what attracts us. We can use this reaction to analyze, isolate and design our photograph. An artist must have a picture in their mind before it can be put on canvas.

72 3) Study The Composition Center Of Interest Every picture must have a center of interest, the object everything else focuses on. The center of interest should dominate the scene. It should convey a simple message. If it is too complicated, it will confuse and, perhaps, put off its viewers. The key word is simplicity, unless your message intends to convey clutter and confusion. Let the message determine design.

73 3) Study The Composition Elements Of Composition All of the elements of the picture should work together, should be harmonious. Anything that is distracting or breaks up the harmony should be eliminated. Take time to study the composition. Look at all parts of the frame. Don't overlook what is at the top or corners of the picture. Sometimes, if we don't look closely, we can overlook what doesn't belong.

74 3) Study The Composition Foreground And Background Objects During your study of the composition, look closely at foreground and background objects. Do they add to the structure? Are you using foreground objects to direct attention to the subject, or to frame it? Does the background contribute or distract? If a distraction, what can you do to eliminate it? Can you throw it out of focus, or change your position?

75 3) Study The Composition Compositional Balance How does the picture fit together? Are all the elements of the composition balanced with each other? Are other elements secondary to the principle center of interest? Balance does not mean placing the subject in the center and other objects surrounding it. Place the subject off center, where it will create visual tension. Break up the composition with lines, shapes and forms.

76 3) Study The Composition Framing The Subject Often, foreground objects can be used to frame the subject and draw attention to it. An overhanging tree, a door frame, a window; anything can be used to frame the center of interest.

77 3) Study The Composition Lead the Eye to the Center Of Interest When viewing a photo, the eye should be led toward the subject. You can use lines to give direction, such as an angled walkway, a curved road or a winding river. Use something that will lead the viewer into the picture.

78 3) Study The Composition Practical Exercise. Revisit the five objects of interest with your framing tool and use it to analyze your subject. Determine the best composition for your photo. Then carefully set your camera for making that very composition. When you see in your viewfinder what you pictured through your framing tool, make the image. Put your finished prints from this exercise and the previous exercise in your notebook and compare them. Do you see a difference? Are these photos better than your previous attempts? If you see improvement, you are making progress. If not, don't be discouraged. The more you put into this process, the more you will get from it. Practice makes perfect. Your photographic skills will improve only by practice. Make pictures as frequently as you can.

79 My Solution PE #3 Determine the best composition for your photo. Then carefully set your camera for making that very composition.

80 4) Set Up The Shot Location, Angle and Framing Where should locate myself for the best viewpoint? What is the best position for the best angle of view? Should I stand, sit, lie down or get in some other position? What kind of framing to use? What would get the right mood, lighting, and composition? What about time of day? What other considerations will affect the quality of the image?

81 4) Set Up The Shot Eliminate Distractions What should be eliminated? What distracts? How can I best eliminate them? Consider changing your position, lens or viewing angle

82 4) Set Up The Shot Study and Control the Lighting What is the direction and intensity of the light? What is the quality of the light? Is it suitable to the subject? Is there too much contrast? How do I control it? How do I create the mood I want? What time of day would work best?

83 4) Set Up The Shot Determine the Exposure Select the aperture for the desired depth of field Choose the shutter speed to control movement Place desired filters on the lens Adjust the ISO as required Steady the camera

84 Practical Exercise #4 Location, Angle and Framing What is the best angle of view? What kind of framing to use? What mood, lighting, and composition? What other considerations? Eliminate Distractions What distracts? How can I best eliminate them? Study and Control the Lighting What is the direction, intensity and quality of the light? How do I control it? How do I create the mood? Determine the Exposure What aperture for the desired depth of field? What shutter speed to control movement? What ISO?

85 My Solution PE #4 Select a wide aperture for shallow depth of field Placed my jacket to shade the background Used a gold reflector to bounce light onto Jack

86 5) Create The Picture The decision to trip the shutter and make the exposure is very important. Re-study your subject, composition, lighting and settings and make sure all contribute to your message. What are you trying to say? Is it a message that this is a thing of beauty? Is it an expression of interest, concern or love?

87 5) Create The Picture Timing is everything. Be ready for the right moment. It might be an expression, an action, quality of light, mood, or other message to present. Remember your audience will others appreciate and enjoy your creation?

88 Most of the work and creativity should be finished before the shutter button is pushed. Post processing is the last step. Post Processing

89 Summary When you see something good you have done, find joy in your success. This will give you confidence that you can do it again. Don't be afraid to shoot often, making a lot of pictures. This will help you to see where you are good and where you can improve. As your creative eye improves, share your work with others. Photography Should Be Fun!

90 Credits I am deeply indebted to Vern Rogers (fotabug) for graciously allowing me to use and arrange his photography workshop for this presentation.

91 Wrap-up Next show-and tell Mon, Feb 23, 6:30 pm Holiday Images (snowed out Jan) Composition and Light Next Meet-up Wed, Mar 11, 6:30 pm Exposure and Metering by Leo Heppner Lightroom and Photoshop training handouts 50/50 raffle