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n i k r o s w s e r g o pr Digital Photography I FIne Art Credit

menlo-ATherton High SChool

BetsY Sergeant Snow 650.322.5311 x 50902 Room i2

LEtter from the Teacher Dear Students, This year you will learn how to see. You will see light, you will see you beauty, but you will also see a complicated world that often doesn’t make sense. Our journey unfolds with the technical aspects of the camera along with Photoshop tips and tricks. We’ll contiune to explore the canon of photographers from the 21st century, and we’ll explore modern styles and images. While you will produce many images, we will also focus on the photo essay and using our images to enlighten others. Since I also teach journalism, it is quite possible that you may be publiched in the school magazine, The Mark. When I’m not in school, you can find me swimming or taking photographs. I am photographer outside of school, as a way to make extra money, and fr ankly, as means to be creative ALL the time. I love seeing the world through my camera. You can see my work at

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Originally published in NorCal eConnections Tuesday, May 03, 2005 Recently Returned: Photo Journalism in Eastern Europe


Teaching, learning and leaving I have always loved photography. I only took one darkroom course in high school but I was hooked. So when I left for Bulgaria at 22, just about 6 weeks after I graduated from the University of Michigan, it was understandable that my camera was the first thing to pack. I had a teaching certificate and a degree in English. My desire to be a teacher grew largely from the promise of continual learning, and opportunities to explore passions by means of the profession. At 22, I was ready to travel, ready to move to a new community, ready to teach, and more importantly, ready to learn. Although Eastern Europe had been my last ranked choice for geographical preference, I was up for anything. I remember getting my invitation to Bulgaria and feeling excited. I packed my camera but I had no idea what I would be shooting, or how this small apparatus would become such a vehicle for exploring.


I went to the Bulgaria with a few rolls of color film and a compact 35mm point-and-shoot camera. I took it everywhere. It was a small,

nondescript camera, so I could be inconspicuous. I began using it to take pictures with my host family, my fellow PCVs, to take pictures when we went on day trips and to different parts of the country. I was able to buy and develop film in the country and thus able to send images home to my family, and swap with friends. By the end of the first year, I had amassed albums filled with casual snapshots, most of people I knew: my students showing off the game show they created in English and the small books they wrote about their lives, my new friends and colleagues. Soon I found I was taking many more of places, details and architecture, and fewer of people. I delighted in the colors or lack thereof, and the stark contrasts of people waging new lives in a post-communist country. For a while I filled rolls trying to capture the unique occurrences I knew I was unlikely to see at home: certain animals in the streets, people wield unlikely objects, the man I passed daily repairing and selling umbrellas, certain landmarks, patterns or combinations of textures. I felt awkward taking photos of people, unless I knew them or got know them, so I found myself more inclined to document the scenery. I wanted to capture Bulgaria as the seasons changed so I could remember the feeling of isolation in the winter, the feeling of life emerging in the spring. Eventually, more and more often there were people turning up in my scenery shots, particularly strong women doing tough tasks, folks tending farm, or friends huddled in conversation. I found that these photos uncovered the real Bulgaria, where people thrive off the land, embrace human interaction and entertain themselves

by talking and relating to one another.


My camera ultimately became a conversation catalyst. I would stop mid-stride to take a photo and people would ask me ?zashto napravish snimka?? I stood often on the side of the road trying to capture the perfect juxtaposition of a large diesel bus overtaking a horse and carriage. I didn’t know then why I was doing it. I just knew that complicated contrasts were everywhere in the quickly changing landscape, and I had the chance to record some of them. The new billboards popping up on the outskirts of towns were ironic. I often remember train rides turning me on to the country side, but I was unsatisfied with the view from the passenger car. I remember my first car ride through the mountainous road from Triavna to Gabrovo, where I could see a mountain range off in the distance, and houses tucked away in the foothills. I knew then that I wanted to see these places up close, perhaps to photograph, more so to really see the lifestyles, to meet the people. My camera and my desire to photograph such things became an excuse to get over being shy or timid, and to reach out and explore. As my Bulgarian improved, I found my way to more intimate experiences in some of these places. My fear of being invasive still left many of these experiences undocumented. The weddings, funerals, holidays and traditions that I experienced there were very real, despite the fact that were undocumented. Even when I befriended folks I felt awkward shoving a camera in their faces. If I could go back, I would photograph Nikolai as he took us to his little house in the mountains. I might ask Georgi to pose by his LADA after he picked me up while hitchhiking after I missed the last train home Triavna. I might have snapped a photo of him driving all the while eager to tell and hear stories. I would now, with confidence, photograph these faces. Photography also compelled me to set out at a slower pace to really see things. I bought a bike, and one weekend my now husband and I chose our bicycles over the train for our 60mile travel to visit each others’ towns. Along the way we could see the neighboring villages and tows with clarity. Our ride on surface streets was a path bringing the Bulgarian reality closer. I could see the country at my pedaling pace, rather than from a quick but laboring train. When I went back to visit two years after my return, I took a more advanced camera and I was able to drive and ride in a car. I was able to pursue images with greater ease, but I still preferred the jaunts by foot or bike.

SHOWING MY PHOTOS TO STUDENTS The most fulfilling part of photography in Bulgaria was bringing images back to school, to show my students or colleagues, after a weekend of traveling to another town. Indeed as a Peace Corps Volunteer I traveled more often on the weekends than I ever have. If we weren’t traveling to a training session then we often went to see our fellow PCVs’ towns, schools and lifestyles. The fact that Bulgaria is a rather small country enables travel. While I could show student photos from Greece or Turkey after spring break or a vacation, I enjoyed their response more when showing them their country as I saw it. My impression of their beloved Rila Monastery was undoubtedly different than what they saw on field trips as children. The reflection of the Nevksi Cathedral in a puddle was a strange perspective to them. In fact, it still bewilders some when they realize that those cobblestones framing the image somewhat are from the street. I tell them that the best perspective of the cathedral was in the large puddle after a rain, and that I wouldn’t have ever seen the cathedral in such a way had not really examined the puddle. Photography in Bulgaria taught me to be astute and aware.


The truth is, I didn’t. I often passed the time waiting for trains or buses by milling about with my unremarkable camera. I was more interested in the composition than I was in the technical aspects of photography, at least then. The images from Bulgaria are ones that have defined my approach to photography. I do not want a lot of posed photos, or artificial light. Instead, the beauty and thrill of photography for me is capturing an image as it is, as it happens. That, for me is the inexplicable truth that I like to convey in images, no matter where I’m taking them. I remember how I would go places and people would want to take a picture with me. That seemed so silly. It was just as silly to my students that I would take pictures of pigs in a trunk, cows, old cars, church steeples, or the way the light fell on the street right before my 4pm class. My experience as a PCV changed me as a photographer. I still shoot to see a place, to enjoy the colors, the details. I feel that photography brings me closer to a destination or a country, or an event, when I capture the details on film. Even if I don’t show the photos, I feel fulfilled. It is almost as if I get to stop the even for that 1/250 of a second and hold onto to it.

r the o f k Loo notes y k ic st tcuts r o h s for

WHY AREN’T I IN ANY OF THE PICTURES? As I share my images of travels or events in San Francisco, I sometimes get asked, ?why aren’t there any pictures of you?? The answer is simple, I was not a part of making the event happen, and my presence there was not to be seen, but rather to see. By shifting from the mentality of ‘let’ take a picture here in front of beautiful building’ I am undeniably seeing the building and not some inevitably unflattering posed photo of shorts-wearing, sandal clad tourists visiting a place temporarily.


I believe now that my experience with my camera in Bulgaria trained me to look at the world differently. I delighted in simple scenes and I found them compelling: a field with a lone tree off in the distance, a clothesline, children playing with rocks or running hand in hand down a street, a train station in the middle of the night, in the middle of winter, a man making pottery in his studio in Dobrich, a friend paining icons in her apartment, another cooking banitsa while the smell of coal burning hovered outside in the winter. I think to really know a place you have to spend some time there. I feel connected to Bulgaria in a way that cannot be replicated from visiting a place for a week or two. In Bulgaria I experienced more than I photographed, and I believe it was photography that really taught me to see.

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Digital Photography Syllabus Snow 2009

 : Henri Cartier Bresson “In photography, visual organization can stem only from a developed instinct.”- HCB The famous photographer Project (FPP) Choose a famous photographer from the list provided to research and explore. 1_Snow_FPPresearch  : Using Photoshop to create a layout Terms: palette, crop, Type Tool, Guides, custom image size, resize, shortcuts, border, 1_Snow_FPP :  Basic Daylight Exposure ts ISO, F-Stop, Aperture ignmen s S A 1_Snow_BDE 1of10 o ect t j b u s  e! chang Depth of Field   Q1 TEST + Review  Natural Lighting

Semester II Photo Warm-ups BDE, Panning, Stop-motion

Paramount, loop, Rembrandt, split, broad,

Fake a famous photo


Building a Portfolio:

Headshots| Making your Photo Pass Starbursts, Removing Blemishes,

watermarking, printing Photo Words Photo Essay

Removing Backgrounds, Balancing Backlit

Picasso- Painting with Light


Hockney: Photo Montage

Portraiture Teacher College CollagePhotoShop Tutorial on Extraction  Layers and Collage Watermarking How to make a Slideshow  Final

 HDR Strobes and Studio Lighting; Annie Liebovitz, Chuck Close Polaroid Transfers Portfolio Body of work Curating | Exhibiting | Labeling Work Your Artist Statement Final Final

i 5 See the subpages under Assignment List to keep track of assignments and their labels.

ALWAYS label assignments: #_a_lastnamefirstname_assignment # = your class period.

l t labe s u m y You rectl r o c work ive a e to rec !! grade

a=order of assignments; lowercase

When using PhotoShop, turn in a .jpg When using InDesign, turn in a .pdf

Camera check-out:

Assignment Log


Yellow in Yosemite by Ms. Snow

While the beauty of Yosemite shines year-round, the fall season brings the chance to find a pop of color, particularly yellow, in many scenes. Inspired by Ansel Adams, I set out of capture the beauty of Yosemite, and was pleasantly surprised to find so much color at this time of year.

CLOCKWISE FROM ABOVE: Snowy reflection in Merced River, A frozen yellow leaf clings to tree moss deep in the vally, A slight mist settles in as dusk arrives beneath El Cap, A cluster of yellow trees stnads out among the shadows of Yosmite Valley...





Famous Photographer Project

Save as: 3_d_Lastname_fpp.psd Turn in: 3_d_Lastname_fpp.jpg Write a sentence or two for each category below. You will present your findings to the class. Turn this sheet in when you do your presentation along with a copy of your layout.

I. Statistics: 100 points ______ |_______  Photographer’s  name  +  nicknames  or  aliases:   ______  |_______  Date  and  place  of  birth:   ______  |_______  Marital  Status:   ______  |_______  Children:   ______  |_______  Education:   ______  |_______  Milestone  (a  significant  moment  in  this  person's  life  that  is    not  already  listed:   ______  |_______  Contributions  (how  has  this  person's  photography  changed/contributed  to  society):   ______  |_______  Profession  before  becoming  a  photographer:   ______  |_______  Date  and  place  of  death  (if  applicable):   ______  |_______  An  interesting  story/anecdote  from  this  person’s  life:   ______|_______  Total  points     The type of photo might be b/w, color, a still life, a piece ______  |_______  Share  your  interpretation  of  photo   of photojournalism, a ______  |_______  Share  why  you  chose  this  photo   landscape, wildlife, nature ______  |_______  What  techniques  does  the  photographer  use  and  for  what  effect?   shot, etc. ______  |_______  What  type  of  photo  is  this,  and  how  do  you  know?   ______  |_______  Why  do  you  think  other  people  should  experience  this  photo?   ______|_______  Total  points    


Photo Analysis: 50 Points


Presentation of Photo: 100 points


Semester 1



______ |_______  Your  layout  adheres  to  the  example  of  formatting   ______  |_______  You  include  a  picture  of  the  photographer   ______  |_______  Your  headline  stretches  across  the  page,  subhead  across  2  columns   ______  |_______  You  have  a  dominant  photo.     ______  |_______  Each  photo  has  a  1px  stroke  around  it.   ______  |_______  White  space  is  consistent.   ______  |_______  Captions  are  catchy  and  correct.   ______  |_______  You  choose  a  good  sampling  of  photos  by  photographer.   ______  |_______  Your  own  photo  mimics  the  style  of  the  photographer.   ______  |_______  Layout  is  attractive  and  showcases  someone  new!   ______|_______  Total  points    

Checklist for layout of FPP:

Subheading is centered across your first two columns. Your byline is LOWERCASE: by Your name is spelled correctly Your byline is justified to the LEFT Your DROP CAP is 5 lines deeps Your body copy (writing portion) is justified.

____/250 POINTS TOTAL!





h_warmups_photojourns m_warmups_photoilllustration


Q_layer blend modes R_retouching S_starburst T_photo text U_historybrush V_visionclarity W_watermark X_Dodgeburn Y_gradients Z_Final

p_greeting card Digital Photography | Betsy Sergeant Snow

⌘c ⌘a ⌘j pt+ o + ft shi


⌘c ⌘g

SEMESTER I PHOTO Vocabulary 2013 Study online at 1.

resolution: measure of fineness of an image


grayscale: light or dark tones, not color


histogram: graph that shows all brightness values of all pixels


Pixel: Contraction of pix (for "pictures") and el (for "element"), the smallest piece of visual information in a digital image.


Image resolution: Describes the detail an image holds. The term applies equally to digital images, film images, and other types of images. Higher resolution means more image detail. For digital images it refers to counting pixels. Pixel dimension is expressed width x height (3000 x 2000 pixels for example). It is also expressed in total number of pixels (600,000 pixels or 6 megapixels). It can also be described in pixels-per-inch.

in image 4.

hue: property of color that distinguishes one gradation from


saturation: purity, vividness, or intensity of a color


contrast: difference between light and dark parts of an image


brightness: lightness or darkness


JPEG: This is the file format you should turn in (it is small).


value: element of art concerned with degree of lightness of colors,


PSD: Photoshop bitmap file. No compression, color space


applied, and saves layers. This is the file format you should save on your computer.

darker colors are lower in value 9.

levels: allows you to adjust tones of an image, specifically dark, middle, or light pixels


memory card: stores image until you can transfer to computer


aperture: adjusts larger to smaller hole letting light pass through


Contrast: Visual difference between things or qualities being compared; technically referring to the difference between highlight and shadow.


ISO: Refers to the image sensor's relative sensitivity to light, using the numbers 100, 200, 400,.... 3200, 6400.... The higher the number the more sensitivity for lower-light situations. Higher numbers sacrifice quality but at least you can get the picture. The more light you have in a given scene, the lower ISO number you can use for optimum quality.


lens: moves forward and backward to bring objects into sharp


image sensor: chip that converts image into electronic ones


jog dial: changes ISO rating, file size, and other settings


Brightness: The degree of lightness in an image.


LCD monitor: Liquid Crystal Display: lets you frame, focus, and


Composition: The arrangement of the elements (subject and

focus and zeros

evaluate photos 16.



Cropping: Taking out unnecessary elements in a photograph

narrow depth of field (stark contrast between what is in focus and what is not)


Focus: System of moving the lens in relation to the image plane




white balance: allows adjustment of camera to accomodate

Megapixels: Term used to describe the size of images captured by a camera. The greater the number of pixels the better the quality.

frame aperture: determines the depth of field and the size of the iris

Rule of Thirds: Says a photograph that is visually divided into thirds (either horizontally or vertically) provides a more satisfying balance than one that is divided in half.

composition: the arrangement of visual elements within the


Lighting: The deliberate application of light to achieve some aesthetic or practical effect.

the rule of thirds: the placement of the subject as if on a grid (think Tic-tac-toe), where the subject is aligned along one of the lines or intersections (not centered)



A small aperture of 22 will make images that have: wide depth of field (everything should be in focus)


so as to obtain the required degree of image sharpness on the sensor or film.

How much light does a large aperture (2.8) let in?: a lot of light


other objects) in a scene or photograph.

A large aperture of 2.8 will make images that have:


red eye removal:




ellipitcal marquee:

different color temperatures 23.

the dominant subject matter: Attracts the attention to a focal point in an image or essay.


dpi / ppi: dots per inch / pixels per inch


fibonacci spiral: an overlay/pattern that directs our attention to the natural point of interest in art, science and nature.


m-mode: is manual priority mode and controls aperture and shutter speed


photography: is the capture of light


fast shutter speeds: are for fast moving subjects


opacity: determines how transparent an object is.


magic wand:




polygonal lasso:







eye dropper:
















spot healing brush:




custom shape:


rectanglar marquee:

magnetic lasso:



clone stamp:
















Which icon opens InDesign?:


Which icon opens Photoshop?:


To which folder do I turn in work?: Photo Drop






command z: Shortcut for UNDO


command a: Shortcut for SELECT ALL


command c: copy


command v: paste


command +: zoom in


command -: zoom out


How do you resize an image without distorting it?: Click and drag to resize while holding SHIFT.


Lasso Tool: A free form selection tool that allows you to select parts of your image in whatever shape


Crop Tool: Crop your image to your desired size and shape


Clone Stamp Tool: Copy parts of your image over the top of others


Eraser Tool: Erase parts of your image


Smudge Tool: Smudge the pixels on part of your image to blur out imperfections or lines


Move Tool: Move your image or parts of your image


Magic Wand Tool: A selection tool that lets you choose parts of your image based on color


Eyedropper Tool: Select the exact color from an image by clicking on it with the eyedropper


Brush Tool: Paint on or add color to your image


History Brush Tool: Works similarly to the Undo option, restores what was there or adds it in.


Dodge Tool: Lighten an area on your image


the file extension for photoshop file: .psd


the file extension for a JPEG: .jpg


the file extension for and InDesign file: .indd


the files extension for screenshot: .png


Shortcut for a screenshot: shift+command+4

Which folder has Ms. Snow's handouts?: Photo Handouts

Shortcut to preview in InDesign: W Shortcut to clear all menus: Tab

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n i k r o s w s e r g o pr Then, visit!i=356466273&k=UxPby Once you have finished taking your photos, we will place them on a template using InDesign. To locate the templates, go to “Photo Handouts” and find the following and drag them to your desktop: Once you open them, save each as the following: 3_#_lastnamefirstname_Elements of Art (or eofa) 3_#_lastnamefirstname_Principles of Design (or pofd) Be sure to save the InDesign file on your computer. Once you finish, you will turn in a jpg. To do this, you must EXPORT your file. Go to FILE > EXPORT > like this: Once you export, change the ppi to 300: Then, you will drag that file to the Photo Drop drive on your server.

e for th Look notes sticky rtcuts o for sh

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t+ p o + shift


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Balance Contrast Emphasis Movement

Ms. Snow


Shiftid+ for gr

Pattern Rhythm


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Today we learn to shoot manually. First, look at the images below to set your camera to the proper setting and to see the hand placement to change your exposure.


or this assignment you will work alone. You will be taking multiple exposures of the same object/image, so get comfortable and choose to focus on a pleasing object or scene. Take four vertical photos of the same object, changing the exposure of each one. Your settings will be as follows: f/8 f/8 f/8 f/8

@ @ @ @

1/250 1/125 1/60 1/30

How does each image change? Keep the images, and take 4 more images at the settings below: f22 @ 1/250 f16 @ 1/250 f8 @ 1/250 f5.6 @ 1/250 What changes within the sets of photos? To understand what changes, you will arrange screenshots of your photos, along with the metadata, in order on the handout called: Once you locate the handout, drag it to your desktop before you open it. Then, you will take a screenshot of each of your images along with the information attached to each image. To do this, open the folder

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containing your images. Press the space bar to preview each image and then press command i, or ⌘i to view the metadata.

review r to p a b e c a the sp Press age info m i o s ee each nd I t +4 a m m d Co an comm Shift+

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Saving files Here are a few notes to be sure you always save your files correctly. 1. Always keep your original files and images somewhere on your computer, in a labeled folder. 2. If you are using Photoshop, you will want to "save as" both a .psd file (to preserve editing capability), and "save as" as .jpg, which you will turn in. When using InDesign, you need to export to .jpg to turn in. Keep your .indd file on your computer. 3. Regarding resolution, or ppi, you want to maintain the most pixels per inch, for your needs. If you plan to post an image on the web, you need 72 ppi. If you want to be published in the MArk, or print decently, you should have at least 180 ppi. If you want to enlarge a photo for display, you'll want 300ppi. Look at samples from the same photo below. Notice the Image Size menu shows how the numbers of pixels change at each setting.

When you zoom in, you can see how the lower resolution image isn't as big or clear has the high resolution image. To see the image size of a photo, in the photoshop menu go to IMAGE, IMAGE SIZE:

n i k r o s w s e r g o pr i 21

Famous Photographer Projec Save as: 3_d_Lastname_fpp.psd Turn in: 3_d_Lastname_fpp.jpg Write a sentence or two for each category below. You will present your findings to the class. Turn this sheet your presentation along with a copy of your layout.

I. Statistics: 100 points


______ |_______  Photographer’s  name  +  nicknames  or  aliases:   ______  |_______  Date  and  place  of  birth:   ______  |_______  Marital  Status:   ______  |_______  Children:   ______  |_______  Education:   ______  |_______  Milestone  (a  significant  moment  in  this  person's  life  that  is    not  already  listed:   ______  |_______  Contributions  (how  has  this  person's  photography  changed/contributed  to  society):   ______  |_______  Profession  before  becoming  a  photographer:   ______  |_______  Date  and  place  of  death  (if  applicable):   ______  |_______  An  interesting  story/anecdote  from  this  person’s  life:   ______|_______  Total  points     The type of b/w, color, a ______  |_______  Share  your  interpretation  of  photo   of photojour ______  |_______  Share  why  you  chose  this  photo   landscape, w ______  |_______  What  techniques  does  the  photographer  use  and  for  what  effect?   shot, etc. ______  |_______  What  type  of  photo  is  this,  and  how  do  you  know?   ______  |_______  Why  do  you  think  other  people  should  experience  this  photo?   ______|_______  Total  points    


Photo Analysis: 50 Points


Presentation of Photo: 100 points


______ |_______  Your  layout  adheres  to  the  example  of  formatting   ______  |_______  You  include  a  picture  of  the  photographer   ______  |_______  Your  headline  stretches  across  the  page,  subhead  across  2  columns   ______  |_______  You  have  a  dominant  photo.     ______  |_______  Each  photo  has  a  1px  stroke  around  it.   ______  |_______  White  space  is  consistent.   ______  |_______  Captions  are  catchy  and  correct.   ______  |_______  You  choose  a  good  sampling  of  photos  by  photographer.   ______  |_______  Your  own  photo  mimics  the  style  of  the  photographer.   ______  |_______  Layout  is  attractive  and  showcases  someone  new!   ______|_______  Total  points    

____/250 POINTS TOTAL!

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Checklist for lay

Subheading is ce your first two col Your byline is LO Your name is spe Your byline is jus LEFT Your DROP CAP Your body copy ( is justified.


The following prompt is designed to aid your writing, not replace it. You will have to retype the sentences below once you insert the appropriate information.

Photographer’s name _________________________________, a notable photographer who specializes in type of photography __________________________________, remains/was/ great due to __________ Photographer’s name why was this person’s work notable? ________________________began ______________________. as a photographer when__________________________________________________. insert story of how photographer got started Photographer’s name name of well known photograph #1 _______________________________’s work includes _______________________, name of well known photograph #2 name of well known photograph #3 ___________________________ and ____________________________. His/her ELEMENT OF ART/PRICIPLE OF DESIGN work demonstrates an emphasis on ____________________________________ why was this person’s work notable? and it stands out due to ___________________________________________. ____________________________’s background shows that his/her influences Photographer’s name people/place from past are______________________________________, which compelled him/her to __________________________. why did s/he make certain images Photographer’s name Other interesting details of __________________________’s life include _________ __________________________ because_______________________________. biographical anecdote #1 why is biographical anecdote #1 interesting?

in when you do

Photographer’s name Photographer _____________________________ is best know for Photographer’s name Name of body of work ________________________. One of _________________________’s name of well known photograph pieces is title _________________________________, and it is a type of photography _____________________________. This piece best represents his body of works or lighting technique or style. Photographer’s name because it shows ___________________________’s use of ____________________ ________________ . Photographer’s name natural? artificial? ___________________________’s use of ________________________ type of? subtle? obvious? lighting and _________________________processing leave a adjective _______________________________ impression on the audience because of insert own idea _____________________________. This work is important because ___________ insert own idea _____________________________________. He/she changed/contributed to the insert own idea society by _______________________________________.

photo might be a still life, a piece rnalism, a wildlife, nature

Photographer’s name In my representation of ____________________________’s work, I chose to __ Describe your process ___________________________________. This style emulates his/her work beinsert own idea insert own idea cause of ______________________________ and _________________________. I found it __________________________________to work in the spirit of adjective Photographer’s name _____________________________ because _________________________. Overinsert own idea compare and contrast your work to photographer’s all, I think my work needs __________________________ in order to capture the reflect on quality of your work essence of ________________________.

yout of FPP:

entered across lumns. OWERCASE: by elled correctly stified to the

P is 5 lines deeps (writing portion)

Betsy Sergeant Snow 2014

Herbert Ritts “Many people who excel are self-taught.”

H by Jak Tedesco

erbert Ritts, a notable photographer because of his unique ability to capture art and glamour in commercial photography was great due to his artful depictions of famous people.Ritts was born August 12, 1952. Herb Ritts began as a photographer when he first took photos of his friend, Richard Gere in front of a Buick that was falling apart. Eventually he was taking photos of legends such as Olivia Newton-John and Madonna. Herb Ritts’ work includes Madonna. This photo possess incredible contrast between black and white, making Madonna’s skin appear very white and the shadows to apprear very dark. Herb Ritts was born in Los Angeles and began working in his family furniture business early on. Eventually Herb Ritts began to become more serious about photography in general. He began photographing Brooke Shields for Elle magazine on October 12, 1981. From there he took photos for many big names in

- Herb Ritts the magazine industry including Esquire, Rolling Stone and Vogue. He was rising fast and began directing music videos, his first being Madonna’s “Cherish”. He went on to direct several more music videos and receive awards for his work on them. Unfortunately, Herb died on December 26, 2002 at the age of 50. After his death in 2002, Herb Ritts has left a lasting impression on the world of photography. In my representation of Herb Ritts’ work, I chose to photograph my close friend Theresa. This style emulates his work because it shows a close portrait that adds depth to an individual’s personality. I found it difficult to work in the spirit of Herbert Ritts because he photographed the rich and famous and unfortunately Menlo Park, California doesn’t have the amount of famous people as one would first think. Overall, I think my work needs show a more glamorous depiction of my subject in order to truly capture the essence of Herb Ritts, but this is something that is much easier said than done.

Harold Edgerton The man who revolutionized motion photography.


by Katrina Wijaya

arold “Doc” Edgerton, a notable photographer who specialized in high-speed stroboscopic photography, remains great due to his famous works that have inspired generations with a sense of wonder. Edgerton was born April 6th, 1903 in Fremont, Nebraska. He became a photographer due to his uncle, Ralph Edgerton who taught him how to take, develop, and print photographs. One of his main influences was his work at Nebraska Power & Light that inspired him to major in Electrical Engineering at the University of Nebraska-Lincoln and later the Massachusetts Institute of Technology, or MIT. There, he had his first experience with a stroboscope and later was able to invent ultra-high-speed and stop action photography using strobe flashes. Edgerton’s work includes Football Kick, Back Dive, and .30 Bullet Piercing an Apple. His work demonstrates an emphasis on movement and it stands out due to his photography of everyday objects seemingly frozen in motion. Other interesting details of Edgerton’s life include the fact that his work with the electronic flash enabled physicists to analyze fluid dynamics, air currents, and engines in a whole new way. The US army also

hired him to develop a super-powered flash for aerial photography, allowing planes to do nocturnal reconnaissance. Due to his work for the army, they were able to document Axis troop movements during World War Two, so in a way, Edgerton helped the Allies win WWII. However, his contributions do not end there. Edgerton designed cameras capable of photographing atomic explosions seven miles away and others for underwater photography. In fact, the first detailed pictures of the Titanic were taken by a camera designed by him. Edgerton is best known for Stopping Time: The Photographs of Harold Edgerton. One of Edgerton’s pieces is titled Milk Drop Coronet, and it is an example of high-speed stroboscopic photography. In the photo, it appears like motion has been stopped. This piece best represents his body of work because it shows Edgerton’s use of stroboscopes and stop-action photography. The detail captured in this photo could not have been seen by the naked human eyes. Edgerton’s photography allows for people to see motion in a whole new way, inspiring awe. With a simple splash from a drop of milk, the pattern of the impact can be seen. Its crown shape shows the simple beauty and gracefulness

captured in Edgerton’s photography. His work is important because it inspires artists and others to find beauty in simple, common objects. He contributed to the society not only through his artistic inspiration, but through his electronic flash. The various uses for physicists, artists, the military, and photography in general allows for the documentation of events in a way that would have been impossible before. Edgerton’s stop-motion photography has paved the way to detailed action shots, continuing to influence photography after his death on January 4th, 1990, in Cambridge, Massachusetts. In my representation of Edgerton’s work, I chose to work with various types of liquid in motion. This emulates his work because Edgerton is best known for seemingly stopping time, as seen in his photograph of a splash of milk in Milk Drop Coronet. In order to take a clear picture of something that happens in less than a second, I used a camera and set it on the shutter priority setting. I also used a tripod and strong natural lighting. My shutter speed was 1/5000 of a second. I found it to be thrilling to work in the spirit of Edgerton because every time I captured the right moment, it was both beautiful and fulfilling. It allowed me to see a simple drop or splash in a whole new way. Overall, I think my work was pretty similar to Edgerton’s, except his used strobe flashes and was able to capture a bullet, something my method would have been too slow and too blurry to accomplish well. With the proper equipment, I believe my work could capture the true essence of motion present in Edgerton’s photography. I feel my work does capture the sense of frozen time and the dramatic nature of liquid that people could not see with the naked eye.

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e or th f k o Lo notes s y k ic t s tcut r o h s for


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Whether inspired by the music or the artist’s image, these album covers were recreated or interpreted by Digital Photography I students for a recent assignment. Students considered how the artwork furthered the tone and theme of the music before choosing an artist. Here, you see some have replicated a cover and in some cases, students created artwork from scratch. Can you see the likeness?

#_hh_ALBUM COVER While we are sharing studio time for assignment FF, we will have Photoshop assignment concurrently. This album cover assignment lets you create album artwork for a CD, song or movie. Look at the examples here and think about how an artist uses photography and illustration to create a tone, or mood to match the music. Create and image from scratch that represents your feelings about this music or artist. Use Photoshop to create a product that represents the entire band/artist or a common theme of the songs. Create an image that is 8 inches x 8 inches in size. Keep the .psd file on your computer but sumbit the .jpg.

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Yellow in Yosemite by Your Name

While the beauty of Yosemite shines year-round, the fall season brings the chance to find a pop of color, particularly yellow, in many scenes.


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Photo Essay Story Elements

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Context--explain the context, setting, situation as completely as necessary Character(s)--who are the characters. Describe them--what makes them interesting, compelling Conflict--is there conflict ? Describe it Plot--is there a sequence of events Theme--what is the Essay about ? Be specific, and as complete as necessary. Image Characteristics -- describe and explain. composition color use of light tonality Progression/order--what does the chosen order of the images communicate? Why was it chosen? Juxtaposition--How does juxtaposition affect the meaning and power of the images. Narration--is there narration ? Is it effective ? Necessary ? Music--Is there music? Why was it chosen, and what does it add to the essay. Does it provide more than mood and tone ? Is it effective ? Necessary ? In this section, be specific. "The juxtaposition is really good" would not be adequate. Be specific. In what way is the juxtaposition designed/effective ? Similarly, "This essay is about events that took place in 1967" is not enough context.

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t n Shif w o d Hold esizing an r when t maintain o image ratio t Aspec

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Each day, you will complete a photo warm-up that adheres to a weekly theme. This week’s them is “Photos in the News.” Take this opportunity to see what photos are published daily, and use the warm-up to address the qualities/strengths of the photo. This warm-up will also reacquaint you with PhotoShop skills each day. See my example, on the left. Below are several warm-up prompts:

For this week's warm-ups, find examples of CD album covers that use photography to create a tone for the band or artist.

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Do a little research to track down who took the photo or did the cover work for the album. For publication date, find out when the album 'dropped' (or was released). For impact, write about how the cover creates a tone for the band or album.

EX: In class I showed you the Beatles album cover with the four men walking in a cross walk. We talked about the time period of the album based on how their clothing reflected the 70s. We then discussed how these incredibly famous people were photographed doing very "regular" things, thus imparting a tone of accessibility to their listeners. The Beatles wanted to be sure people knew that their music was created for everyone. According to, "For the first time on a Beatles album, the front cover contained neither the group’s name nor the album title just that iconic photograph taken on the zebra crossing near the entrance to the studios in London NW8 in August 1969."

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digital photography II This Fine Art course provides students with hands-on experience with digital image capture. The primary goal of the course will be to teach students to make proper RAW exposures manually while exploring techniques such as ETTR, white balance, and color calibration, Digital Photography II students should have completed successfully the beginning course while showing an inclination towards advanced image making. While the course will be quite technical, we will supplement the sessions with creative research assignments, Photoshop tutorials, natural and studio lighting techniques, studio and strobe set-up and alternative processes such as the Polaroid transfer. Due to the unique scheduling of this class, this will be an applied photography course as well. We will use photography and photojournalism to provide content for the school publications, and The Mark. Students will be asked often to produce on demand with the resulting photos published. NOTE: Most students at this level of photography have their own camera that they are hoping to learn to use.. We will allot time for one-on-one lessons so students can become experts on their own cameras. Should a student not have his/her own camera, there are a few to use on the premises. Should you be in the market for a camera, students at this level should consider a DSLR.

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Assignments will include:

365 PROJECT-- photo a day! (I just read “The Best Camera Is The One That’s With You: Iphone Photography” and it is inspiring this challenge:) Metering for contrast and backlit situations The Color Wheel Catalog project Grading rubrics will be Color Harmony Theory provided for each assignColor Contrast Theory ment. Workflow Some assignments will Bracketing serve to inspire, some Raw Workflow will be challenging, and ETTR some will be just for fun. BDE Regardless of how we catDepth of field egorize the assignments, I PIxelation expect that each student at Understanding your histogram this level approaches the Metering for contrast and backlit situations topic with sincerity and in The Color Wheel earnest. Color Harmony Theory Color Contrast Theory Workflow Photos that change the world: Photojournalism Photo contests Still Life-- natural light Still Life-- studio Night Photography

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1. What is the difference between a .jpg and .psd? 2. Which type of file do we turn in? Why? 3. Which type of file do we keep on our computers? Why? 4. What is the goal of daily warm-ups? 5. List 5 of the elements of design. 6. What is Ms. Snow's email? 7. How can I find the list of assignments or how to label them? 8. What type of camera is available for checkout? 9. What do I need to do to check out a camera? 10. Where can I eat in the lab? 11. When can I use Facebook or play games in class? 12. Is it ok to listen to music in class? When? 13. What should I do everyday once I arrive in class? 14. What is Ms. Snow's favorite color? 15. When was Ms. Snow born? (HINT: it wasn't yesterday;) 16. When do cameras need to be returned afte check out? 17. What 3 things do I need to do when returning my camera? 18. What do I do if my camera breaks or gets damaged?

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The following resources have sources, and are subject to ch

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been compiled from various hange.

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Digital photography reader bsnow 2013  
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