Final Portfolio

Due date: Monday (5/2) (exam week)

Images should be exported and submitted as highest quality jpegs @ 1200 pixels, longest side. Please submit images to UA Box, into a single folder labelled with your last name and first initial. (e.g.: “Jordan_C”)

Include 2-3 strongest images from each of:

Include all final images from each of:

Important dates, class schedule, upcoming weeks

Agenda:

Monday (4/18)

  • Midpoint critique for project 3 (fictional reality) and 4 (open)

Wednesday (4/20)

  • Continued in-class refinement of project 3 (fictional reality)

Monday (4/25)

  • Work day/prep for critique

Wednesday (4/27)

  • Final critique
  • Submit final images for Project 3. Turn in full-size, layered photoshop file and Jpeg (1200 px, longest side)
  • Submit images for Project 4: Jpeg (1200 px, longest side)
Monday (5/2) (exam week)
  • Final Portfolios due on UA Box
  • All late/revised work must be submitted by 12 midnight

Wednesday 4/13 fictional reality, next steps

  1. Import a copy of your masked figures into your new background
  2. Optimize placement and scale so that figure sits/fits naturally in the new background. Avoid "scaling up"
  3. Optimize mask for new background. Some tweaks may be required to things like hair, etc.
  4. Add highlight/shading to figure to match light source of new background (camera RAW adjustments can be useful for this)
  5. Build shadows on new background
    1. contact/drop shadows
    2. extended shadows, progressively blurred
  6. Resolve superimposition issues by masking individual elements. The "double layer mask" trick, where an additional layer mask is used on a group, can be helpful
  7. Add atmospheric/lighting/special effects. Clipping masks can be helpful, to limit the effect of an adjustment to a single layer.
Useful tricks:
  • Selectively darkening edges of hair with multiply curve with clipping mask and layer mask
  • Grouping of layers
  • The "double layer mask" trick, where an additional layer mask is used on a group. This allows the integrity of the original mask to be preserved.
  • Clipping masks can be used to limit effects / adjustment to a single layer or group of layers
  • Double layer shadow technique
  • Conjoined/stamped layers (Shift+Option+Command+E onto blank layer)

Monday 4/11 Fictional Reality Class Work

 Monday, 4/11 to-do list.

 

1.     Selective Mask Refinement for broad areas (no hair, fine details)

 

·      Lasso tool with slight feather (~10-15 pixels)

·      Filter>Other>Minimum (~1-2 pixels) to reduce halo

·      Noise>Median (for edge smoothing). Sometimes does not work for all images/masks/resolutions

·      “Shrink-Wrap” to tighten mask and control edge character (match the focus/sharpness of your photo/source image)

o   Gaussian Blur

o   Levels adjustment

 

2.    Save your white screen/masked file as a master file. Export your mask layer into your new background file, sizing with free transform as required. 

 

3.     Refining hair and fine details

 

·      Avoid use of above tools for hair and fine details, except in certain situations

·      Evaluate the need for refinement against your new background. Your mask may need less refinement than you think, or more…

·      Use high magnification

·      The mask is usually fine; problems are more often than not the result of lens flare

·      Burn hair edges down with a multiply curve with clipping mask. 

Project 4 (Open Final Project)

Propose, explore, and complete a project that demonstrates your skills within a concise concept, theme or idea. The subject matter and approach is entirely up to you, but should express a cohesive concept with technically strong and well-designed images. 

Be strategic. Carefully consider and choose a concept that you will be able to explore through available subjects that you can photograph multiple times over the several-week period. An important part of your project evaluation will be evidence of steady development and growth.


The final group of photographs (10-12) should consist of the strongest images from your shooting sessions that also most support your concept. 

 

Proposal:

  1. Description of subject matter, concept, approach
  2. Discuss 2 well-established photographers (sourced from lenscratch) that are relevant to, and who might inspire, your subject matter or approach
  3. Any technical hurdles you might anticipate

Due dates:

  1. Proposal: Monday 4/4
  2. Initial critique: Monday 4/18
  3. Final critique/images: Wednesday 4/27

Your projects will be evaluated on the following criteria:

  • Original, inspiring, and creative idea/vision/approach
  • Quality of photographic design
  • Technical (camera, lighting, file management, etc.)
  • Consistent weekly work and overall growth of the project
  • Deliverables (prints, files, etc.)
  • 1200 pixel jpegs in UA box
  • Final prints must be made from the full resolution files, not from the 1200 pixel jpegs

Example of a good proposal:

 

            For my final project I am wanting to take pictures of busy spots around town and do a side by side to compare and contrast how they look during the day and at night. I am wanting to use long exposures to show movement and how it can change in a setting between night and day. I will be placing my camera on a tripod and attempting to position the camera in the exact same spot for each set of pictures. I will be going around town to look for the best places to shoot and interesting locations that might drastically change from one time of day to another. 

            An artist I found that inspired me was Henri Prestes. He depicts a lot of landscapes in his work which is something that interests me. Almost all of the photos are taken at either dusk or during the night which adds to the unsettling factor of his work. His use of light is also very interesting, whether it be shining from the doorway of a house or the headlights of a car. It adds a layer of mystery that compels the viewer to think more not just about the image itself but the story behind it. In looking through Prestes works I have gained some more inspiration and ideas for my own work. I am wanting to experiment more with photographing at night and telling stories through lighting and settings rather than through the use of figures.

            Another photographer that I was inspired by is John Banasiak. He is another photographer that works mostly during the night to create his pieces. He shoots different buildings and landscapes at night through black and white film. He chooses locations with interesting architecture and lights to photograph. His work gives more of a somber mood, both through the use of night photography and the old buildings he takes photos of. The subjects tell a story in every piece and the lack of figures makes the work seem more personal and private. They are the photographs taken by a man who wanders and captures moments of solitude and peacefulness. 

            The only technical hurdle I believe I will run into is being able to set the camera and tripod in the exact same spot for each picture during different times of the day. I do not have much experience using long exposures either but I believe it should all work out alright. I am interested in trying a new type of storytelling that I have previously done through the use of figures and models. I think this would be a great project for me to develop my photography as well as my storytelling skills.


Examples of student photos:













Project 3: Fictional Reality

Turn in:

Wednesday 4/27: Final image due. Turn in full-size, layered photoshop file (at least 16 inches longest side, 300 dpi) and Jpeg (1200 px, longest side)


For this project, create a compelling and photographically believable depiction of an event that never happened. 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, movies, other stories. Or make something up.

Move beyond the simple "one liner" to something that works on multiple levels thematically or conceptually. What questions are raised? What ideas are engaged? Beyond that, anything goes. There is plenty of room for creative interpretation. 
  • Think big for this one... costumes? styling? props?
  • Plan ahead of time, especially situational lighting characteristics. The instructor will advise you on a plan. The light direction and quality of every component of your image (subject and background) should match, as should camera angles, etc. For instance if your image depicts a nighttime scene, the background should be shot at night, while the studio white screen image should use a lighting design that suggests a similar lighting situation. Unifying lighting direction, scale, point of view, shooting angle, etc., is very important to contribute toward the believability of you final composite image
  • Spend time exploring and photographing possible background settings/locations
  • Integrate the subject with the unlikely background/situation using post-processing techniques covered in class
There are a few technical ground rules for this project.
  1. At least one of the main subjects should be shot with white screen techniques in class
  2. Avoid WHITE clothing for white screen shooting. Darker clothes (even darker hair color) is best
  3. Shoot 3-5 different background images, all different, but shot with scale, perspective, lighting, and point of view that matches your subject convincingly. 
  4. At least three working variations (with distinctly different backgrounds and/or subject) should be submitted by the first critique. The strongest of these will be developed (or combined with others) to create the final image
  5. The white screen subject should be masked and appropriately integrated into the new background, using the techniques taught in class to create a seamless photographic illusion.
  6. The finished image should "read" realistically and convincingly as a single, genuine photo
  7. At least 18" x 24" @300 dpi. All component pieces should be at adequate resolution, shot by you–please do not use images from the web!
  8. Submit layered photoshop file and jpeg of appropriate resolution 
Building an image







Project Due Dates

Monday 2/28: Proposal Due
    1. 1-2 pages
    2. Description of your fictional scene/event. Please specify whether the event takes place during the day, night, indoors, outdoors, weather conditions, etc. For example: "I will depict my character standing below a streetlamp on the running path along the Black Warrior River while it is raining. The falling rain will be generated digitally, but the subject will be photographed with wet hair and clothing in the studio to match the weather conditions." 
    3. Description of your character, including outfit, costume, etc.
    4. Description of your background
    5. Overall light direction/light quality desired for final image. For instance, will your character be depicted as lit by a streetlamp or the setting sun?
    6. Anticipated special skills needed in Photoshop. For example, how to create fog, rain, etc.
    7. Please look at the fictional reality artist examples at the end of the blog post, and discuss 1-2 approaches, effects or strategies you may want to try our for yourself with this project
Wednesday 3/30: In-class white screen shooting
    • It is crucial that you attend class, prepared to shoot
    • Character comes to class "in costume"
    • Please be ready to pride instructor some guidance about light direction/light quality. (See item 5 from proposal). The clearer your plan for lighting, the more targeted and effective our efforts in the studio will be. 
Wednesday 4/27: Final image due. Turn in full-size, layered photoshop file (at least 16 inches longest side, 300 dpi) and Jpeg (1200 px, longest side)

Additional dates, TBD

Developing and refining your image:

Approach your image as would a painter or illustrator. Photograph (or digitally create) elements, as required, to support your fiction. Work the whole picture, considering light direction, atmosphere, composition and color. All major components of the image must be shot by you.
  • Position and scale figure (Use free transform dragging from corners to preserve proportions) in relationship to the background–where you want the figure to be
  • Keep the figure relatively prominent in the frame. 
  • Refine mask in CONTEXT. 
    • Refine edges
    • Refine edge brightness (hair, especially)
  • Match lighting between figure and background
    • Flip images as required to unify light direction
    • Reprocess RAW images for subject and/or background so that they match
    • Dodge and burn figure wth layer masks (usually multiply or screen)
    • Dodge and burn background with layer masks (usually multiply or screen)
    • Add shadows to background
  • Superimposition... placement in space. What is in front, what is behind?
    • Selective masking, sometime with layer mask on a layer group
  • Unifying effects
    • Color
    • Atmospheric effects 
    • Additional images
    • Other

Assignment 4: Portrait Retouching


Choose an image from your conceptual portrait project to retouch, using the techniques as taught in class. When choosing an image, please be sure that the images is sharp (in focus) and the face is prominent within the frame. The above image is a good example.

Please exercise the following approaches and skills:

Retouching:
  • Original photo should be full resolution file (RAW, or highest quality JPEG). Retouching should be via Camera RAW as well as required Photoshop techniques
  • Image should demonstrate significant (but reasonable) alteration of subject appearance (eye color, hair color, clothing color, skin alterations, etc.)
  • Frequency separations to modify/optimize skin texture (see resource link below)
  • Layer (with blending mode) to modify eye color
  • Layer (with advanced blending/blending mode) to modify hair color
  • Global tone and color adjustments
  • Local adjustments as required
  • Anything else (only the above are required)
  • Turn in PSD file with ALL LAYERS. Do not rasterize your RAW smart object or adjustment layers; always retouch onto a blank layer.
Due dates: Wednesday 3/23

Resources:

Conceptual Portrait Series

Due Dates:

 

Proposal: In UA Box by Friday 2/25

Phase 1 shooting, 1st critique: Wednesday 3/9; submit 10-12 images to UA box (1200 pixel jpegs)

Phase 2 shooting, 2nd critique: Wednesday 3/23

Final images and prints due: Monday 3/28









Conceptual Portrait Series:

  1. Generate a conceptual framework for a series of portraits
  2. Develop and submit a proposal, receive approval
  3. Find and coordinate subject(s) for multiple photo shoots
  4. Shoot the images
  5. Editing and refinement
  6. Reshoots
  7. Printing and presentation

Proposal:

 

2 pages, consisting of:

  1. Your conceptual framework for the project. For example: Portraits of UA seniors depicting their future selves wearing appropriate clothing, in aspirational settings.
  2. Subject source(s). Who will be your subjects? Where will you find your subjects?
  3. Natural light on location of studio portraits? Rationale for one or the other…
  4. Discussion of 2-3 well-established contemporary photographers from whom you find inspiration for your project. Photographers listed below, or any from Lenscratch are fair game. For each:
    1. Describe what they are doing with their work, conceptually
    2. Describe how/why you find their images are strong, visually
    3. How the above is inspiring your project 

Due Dates:

 

Proposal: In UA Box by Friday 2/25

Phase 1 shooting, 1st critique: Wednesday 3/9

Phase 2 shooting, 2nd critique: Wednesday 3/23

Final images and prints due: Monday 3/28

 

Some photographers using portraiture within a conceptual framework:

 

John Henry

https://www.jonhenryphotography.com/strangerfruit#1

 

Rineke Dijkstra

https://www.mariangoodman.com/exhibitions/288-rineke-dijkstra/

 

Hannah Altman:

https://www.hannahaltmanphoto.com/kavana#1

 

Troy Colby:

http://lenscratch.com/2020/09/troy-colby-the-fragility-of-fatherhood/

 

Heather Evans

https://www.heatherevanssmith.com/seen-not-heard

 

http://lenscratch.com/2013/05/heather-evans-smith-heart-and-heavy/

 

Jose Ibarra Rizo

http://lenscratch.com/2021/10/acp-week-jose-ibarra-rizo/

 

Jennifer Mcclure

http://lenscratch.com/2020/10/self-portrait-week-jennifer-mcclure/

 

Colin Roberson

http://lenscratch.com/2021/01/focus-on-portraiture-colin-roberson/

 

Sam Geballe

https://samfrancesgeballe.com/selfuntitled/2016/12/14/69ttg46ua2u2gc86ld60u9h9j0m27z

 

Olivia Gay

http://lenscratch.com/2021/04/olivia-gay/

 

Lydia Panas

http://lenscratch.com/2021/11/lydia-panas-sleeping-beauty-2/

 

Cig Harvey

https://www.cigharvey.com/you-look-at-me-like-an-emergency

 

Project 1: Working a Concept, Idea or Theme (PHASE 3)

Due Dates:

First critique: 2/14 (Monday)
Second critique, all shooting due: 2/21 (Monday)

Monday 2/28 will be a work day to address editing decisions and printing. 
Wednesday: 3/2 Prints due and final selection of images uploaded to UA Box

Deliverables:
  • 2 PSDs (with embedded RAW smart objects) files that demonstrate your digital editing skills and workflow using skills taught in class. 
  • 10-15 1200 pixel jpegs of strongest images
  • 3 exhibition-worthy prints of strongest images (same images as jpegs)
Work will be evaluated on:
  • Clarity and consistency of concept... do the images support the main idea of your project?
  • Strength of images (framing, composition, etc.)
  • Technical camera skills (sharp focus, solid exposures)
  • Photoshop /image editing skills
  • Project is adequately realized (follow-through)
  • Print quality



Develop a strong group of photographs around a distinctive concept, idea or theme. Remember, a specific subject is not necessarily the same things as a concept. Come up with your concept, idea or theme first, and then find subject matter that supports this.  

For this project, we will be using "straight" approaches to photography (minimal photoshop).

A collection of haphazard images does not make for a strong project. Intention is important, as well as follow-through and a tight edit/image selection.

Inspiration: Consider how each of these artists have engaged a primary concept, idea or theme to form the basis for their projects. Whether the project features people, places or things in some way or another, the photographs within each project answer a very specific calling. 

Lydia Panas: Sleeping Beauty

Rohina Hoffman: In Gratitude

Eleanor Kerr: On the Batture

Kerry Mansfield: Expired

Jeongmee-Yoon: the pink and blue project

Others:

Project 1 group critique, 2/14

 Overview:

  1. Group review of work, critique and discussion
  2. Complete the critique forms for each artist reviewed
  3. Groups will report out on main takeaways to the whole class
Note: As a group, please complete the discussion form for the photographer you are critiquing. At the end class, please return the feedback form to the artist.

Format:

Group A will critique individual members of Group B

Group B will critique individual members of Group C 

Group C will critique individual members of Group A

Group AAndrewPappas
ColeEngelbrecht
EspenOh
JoshaCharlery

Group B
DanielleGuy
CourtneySimmons
MackenzieWhitelaw
CarsonRedwine



Group C
WillBlohm
AustinGrant
BrynnWint
MaddieBriggs

For example, Group A (Andrew, Cole, Espen, Josha) will critique photographs by individuals in Group B (Danielle, Courtney, Mackenzie, Carson) and will fill out and complete a discussion form for each photographer being critiqued by the group. And so on...

Final Portfolio

Due date:  Monday (5/2) (exam week) Images should be exported and submitted as highest quality jpegs @ 1200 pixels, longest side. Please sub...