SEATTLE BENSON
CONTENTS 02 DEPTH 14 FINE ART 04 PORTRAIT 08 MOTION 16 SERIES 18 LANDSCAPE PERSPECTIVE 10 MACRO 20 ARTIST
DEPTH Creating a shallow and deep depth of field can be achieved by changing the aperture of your camera. On this page you see examples of deep depth of field, like the image of the landscape below, where everything is in focus. The other images contain bokeh, the blurry background that you see. This creates great depth in the image and can create when the aperture on a camera is set to a f-stop setting such as f/4 or f/5. Having bokeh in an image is a great and simple way to create a focal point. Next time you are capturing a portrait, a landscape, or a interesting nature shot, try using a low or high f-stop to create a shallow or deep depth of field. 02 DEPTH INSPIRE 03
These portraits were taken in the old ghost town of Bannack, Montana. It really was a fun because we were able to use different flash and lighting techniques to add drama. The models were all amazing, with their props, their clothes, and their expressions. By using lighting techniques like the speed light, like the image on the left, we were able to add light on the models faces in situations where they would usually be in the shadow or have strange reflections. The smaller two images were created with reflectors, which was nice because you could manually control where you wanted more light. But, for the image below, we had the opportunity to use the continuous lighting to totally black out the background and add light to just the face. Thanks to the lighting techniques, there was little needed to be done in post-edits. Overall, an amazing opportunity to gain a better understand about what different lighting techniques do to the models and the settings needed to make it look clean and crisp. 04 PORTRAIT INSPIRE 05
06 PORTRAIT INSPIRE 07
By having your camera settings set to a fast or slow shutter speed, you are able to capture frozen or blurred motion in an image. The main purpose for a photograph is for you to capture a moment in time. Being able to have a fast shutter speed like 1/125 and greater can freeze motion in the photo. You can capture water in the air, like the image on the left or the image below. Or if you have a slower shutter speed, like 1/20 and below, then your shutter is open for longer... letting more light in and creating a blur while trying to capture the object. In order to not make the background blurred as well, you need to hold your camera very still or use a tripod to keep it balanced, like the image of the car on the right. Notice how the car is blurred in motion and the background is in focus. 08 MOTION INSPIRE 09
MACRO In order to capture a successful macro shot, you need to have a super zoom lens and macro tubes that you can add to your lens on the camera. For these images, I used various macro tubes and a Nikon 18-200 mm zoom lens. With a lens that can zoom in that close, it is difficult to get items in focus. You want to make sure that there is enough bokeh to make an intriguing composition but have the focal point in crisp focus. And if you want to create an even more interesting composition, you can add water droplets. That is what I did for some of my macro shots and for the others I really wanted to capture the details of certain objects that you do not usually see up close. 10 MACRO INSPIRE 11
12 MACRO INSPIRE 13
This assignment in Bannack, Montana was to just capture interesting view points and compositions of the old ghost town. I was hoping to capture a picture of a ghost but not luck! But I did get some great images of the cool props they had and the adorable little dog that one of the models had brought. In the bottom right image I actually was able to practice my bracketing setting. In order to capture that image I took the same image with low exposure, good exposure, and high exposure on my camera. That way I could get the details of the sky along with all the details outside the hotel. 14 FINE ART INSPIRE 15
SERIES For my series collection I decided to revolve around the textures of the walls around the ghost town of Bannack. It was really cool because you could feel the history in the walls as they were falling apart. By having a shallow depth of field I was able to focus on one part of the wall for one to really see the details as well. It was great being able to create a focal point of the walls but also being able to see the walls as a whole as well. There were so many old walls with different textures and wallpapers to capture it was difficult to select just a few. But, I am glad that I chose the images that I did so that you can really get the feel for Bannack, Montana ghost town and its rich history. 16 SERIES INSPIRE 17
LANDSCAPE PERSPECTIVE The object I decided to focus on for my landscape perspective was my longboard. The reason for that decision is because I thought you can do a lot of different kind of pictures of the longboard, on top of the longboard, and of others riding the longboard. Plus I hadn t been out riding in a while and it was fun to have fun in-between shots. The image above is one of my favorites. I know it might be able to tell but this wheel is actually spinning. By having a slower shutter speed I was able to create an interesting composition involving a shallow depth of field with a moving object. Here we are actually able to see the bottom of the board as well so we can see a little of the motorcycle design. 18 LANDSCAPE PERSPECTIVE INSPIRE 19
ARTIST photo credit: Emily Herzog Thank you for taking the time to look through my Fall 2018 photo book. Being a Graphic Design major, I am very proud of the images that I have taken in this semester as part of a Digital Imaging class with Sister Esplin. I am proud of this project and being able to design this book just how I like it. Learning so many cool tips and tricks to capture interesting images and in post edit. If you are interested in any of my photographs or would like to work with me, you can contact me at 480-249- 8548 or seattlebenson97@gmail.com. - Seattle Benson 20 ARTIST