54 PAGES OF
TOP MATERIAL
BROMSGROVE NEW COLLEGE
PHOTO IMAGE CAPTURE
PRESENTATION
ALTERNATIVE
PRESENTATION METHODS An overview of alternative presentation methods that could have been used to present this project
Gallery
PRINCIPLES OF
PHOTO IMAGE CAPTURE Two sets of ten photographic images Inc.. techniques that have been used to create them
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Index 1.
Presenting photo images Assignment 211
3 - 4 Alternative Presentation Methods 4 - 26. Principles of Photo Image Capture Outdoor places Assignment 206.1
27- 48. Principles of Photo Image Capture Portraiture Assignment 206.2
49 - 52. Inspirations Joe Mc Nally & Sue Bryce
53. Equipment
54. References
Presenting photo images Assignment 211
I have chosen this online magazine publication to present both folios of images from assignment 206. Key advantages of using this form of presentation would include accessibility, cost, and popularity. In today’s age, the most popular way of displaying images would probably be by the means of social media and through image hosting sites, i.e. Facebook, Instagram and Flickr. These provide an easy and free way to share ones images. Creating the layout for my magazine had its challenges. I chose Adobe’s InDesign to construct my magazine in. Having never used InDesign, I had to learn and “figure it out” on the go, but I manage to get my head round it in the end, well, just. Using a magazine layout rather than just displaying individual images on line, brought the assignments together in a complete package that allowed me to include not only the images alongside the descriptions, but also other bits needed for this assignment. Displaying these images on older or non-suitable equipment could be a hindrance, for example, if older equipment were used, i.e. old laptops, tablets or mobile’s with smaller or less advanced displays, the images quality and or colour could be affected.
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Alternative Presentation “Mounting Techniques The method and materials used for mounting photos depend on multiple factors, including photo characteristics, available tools and materials, cost, and convenience. Dry Mounting Dry mounting technique for photosDry mounting affixes the artwork to a rigid or semi-rigid backing. It is designed to be used with photos, posters, and water-sensitive artwork. This method is rarely used with fine art. One of the many ways that dry mounting can be accomplished is by using a heat press to attach the artwork to a backing board. However, the heat press method can damage paintings. A vacuum press can also be used in the same manner, but without the heat. Pros – The greatest advantage to dry mounting is it can remove tiny wrinkles and creases from the artwork as well as the effects of cockling. The pressure from the dry mounting process makes it possible to flatten works that might otherwise wrinkle or buckle. Cons – The biggest disadvantage of dry mounting is the fact that it is irreversible. This is not a method sanctioned for archival mounting. It is generally only useful when mounting inexpensive artwork that is likely to be quickly replaced, rather than something you want to stand the test of time. Conservation Mounting Conservation mounting uses an acid-free mount board as well as hinges and acid-free tape or adhesive designed to keep acid from getting through to the artwork. Another name for conservation mounting is museum mounting. This method is used by most museums. In some cases, acid-free corners can be used to offer another level of protection to the artwork. Pros – Conservation mounting is perfect for protecting artwork that is to be hung for extended periods of time. It can be used with a wide variety of artwork. This method can also be used with shadow boxes to provide protection for three-dimensional works. Everything that is mounted using this system can be easily removed later, and the entire frame can be replaced without having to change out the mounting system. 3
Conservation Mounting is very cost effective, as it does not require expensive equipment such as a dry mount press or roller press Cons – The biggest disadvantage to conservation mounting is the amount of time it takes to go through the process. Everything has to be applied to the artwork in a manner that seals it off from outside air and exposure to acid from external elements. These materials tend to be more expensive because they are meant to provide long-term protection. Pressure-Sensitive (Adhesive) Mounting A less expensive process that is similar in nature to dry mounting is pressure-sensitive mounting. It does not require heating or special equipment that can damage the photograph. This process uses products such as Perfect Mount from Crescent, which has a special adhesive that does not activate until you apply pressure to the photograph. Once you have removed the protective paper from the adhesive and have positioned your photograph the way you want it, simply apply pressure and the photograph is fixed in place. Make sure to use the protective paper from the adhesive when applying pressure to protect the photograph. Pros – Pressure-sensitive mounting is very affordable and easy to accomplish for beginners. Because you can purchase the mounting system in different sizes and cut it to scale, it can be formed to perfectly fit any size photograph. As long as all the air is removed from beneath the photograph, you receive a perfectly mounted photograph. Cons – Pressure-sensitive mounting is only intended for temporary mounting because the adhesive itself is not very strong. This is not a very good mounting system if you are using photographs with heavy papers because the adhesive may not hold up. Wet Mounting Technique If you prefer not to use pressure mounting but want to avoid using heat, wet mounting is right for you. A wet glue or paste is applied to the mount board before the photograph is put in place. Use a piece of glass or other solid surface to apply pressure to the photograph as you wait for the glue to dry, which could take anywhere from four hours to 24 hours. Pros – The mounting process is inexpensive and the glue can completely set within 24 hours. You do not require any special equipment or any matting boards if you do not want them. Cons – This mounting technique is also non-archival, so it should not be used for anything that will hang for years. It is possible for the glue to get on the front of the photo if you are not careful in the application or use too much paste” . 4 http://photographyspark.com/the-art-of-mounting-and-framing-photos/
Principles of photo image capture Outdoor places Assignment 206 The following images were taken at various outdoor locations I visited during the duration of this course, always keeping the assignment in mind. The intention of the following set was to capture images outdoors in numerous different weather and natural lighting conditions. There weren’t many health and safety measurements necessary, besides using enough sunblock in the harsh South African sun. The locations will cover, Barry Island Wales, Opole Zoo Poland, Durban beach South Africa, Avoncroft museum Bromsgrove and the Green way in Stratford upon Avon.
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This image was taken at Barry Island, I like the way the low hanging sun silhouetted the people on the beach and at the same time highlighting the few scattered clouds. The hand rail adds a nice flow to the composition, running in parallel with the waterline. Taken with an iPhone and directly into the sun, this image has a high noise level, but along with being in black and white, gives an agreeable vintage feel to the image.
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Taken on the same day at Barry Island, the hard light. The red and yellow wonderfully low white clouds preventing the sky to beco I chose to keep the subject in the middle o “Evolution“ With Evolution always being a big debate in introduces a more philosophical element to 9
sun lit this fairground ride full on with complements the vibrant blue sky with the ome to monotonous. of the frame, drawing all the attention to
n life, the subject matter of this image the image. 10
This image of a Pelican was taken at Opole Zoo in Poland ange palate of the Pelican complements each other, addin Light reflecting of the water adds a beak.
pleasant highlight
I deliberately turned the camera sideways to create a co and beak to an almost horizontal line and also adhering
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d. The deep green water and the orng a nice vibrant feel
t on the under side of the Pelly’s
omposure that align the Pelly’s head to the “two thirds” rule.
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A long focal length makes this Little Owl stand out from the background with the use of blur, also known as Bokeh. “This is the aesthetic quality of the blur produced in the out-of-focus parts of an image produced by a lens” (Wikipedia). Bokeh can be achieved in two ways, the first, as demonstrated in this picture is a “longer” focal length, and the second being a large aperture. Perfect natural light, a long focal length and the blue–green background gives this image very appealing quality.
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On this day, Durban central beach was for most par created an even wash of light. The almost monochrome hotel and suburbs in the bac of people crowding the swimming area of the beach, The near wooden fence below and plain grey sky abo 15
rt of the day covered by dull grey clouds, this
ckground are well contrasted by the vibrant mass , with the pier dividing the two. ove, adds a sense of depth to this image. 16
The dark stormy clouds and partial sun, created companied this replica of an abandoned ship.
A wide focal length of 18mm had to be used to ca surroundings.
Due to the stormy weather and low light a higher allow for a smaller aperture, capturing more “de 17
a dramatic mood that ac-
apture the subject and its
r ISO of 400 was used to epth of field� 18
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On this sunny day a low ISO setting of 100 was used along with a fast shutter speed to expose this image correctly, I also had to wait for some cloud cover to lessen the sunlight a bit, this helped to reduce hard light causing unwanted shadows and “blown out� whites. I under compensated the exposure with half a stop to keep detail in the church and sky. I chose to include the black & white as well as the colour image, as each image has its own unique feel and authenticity. (Avoncroft Museum Bromsgrove)
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Taken with a small aperture of f11 and ISO 100 to get a speed to 1/80th of a second. This was slow enough to ach the image with the camera hand held.
The rusty old bridge is leading the eye through the tunn The late afternoon sun provided enough hard light and sh
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suitable “depth of field�, I had to slow the shutter hieve the correct exposure but still fast enough to take
nel, focusing on the path and the approaching people. hadows to emphasize the bridge
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Panning the camera with the crow just as it sense of movement. The crow, composed in the upper right third feel of the bird flying away. This image wa 23
t took flight creates motion blur and generates the
d, exiting the picture also contributes to the overall as also taken at the “green way� Stratford upon Avon 24
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One of my favourite images, this was taken at Stratford upon Avon race course. Even though it was a relatively bright day I still had to use a higher ISO of 400, this enabled me to up the shutter speed to 1/500th of a second, freezing the horses while panning the camera with them. The challenge was getting the correct exposure on the subject while compensating for the bright sky. In order to achieve this I took this picture ignoring the camera’s internal light meter. I had to take a few “test� shots adjusting the aperture trying not to go below 1/500th of a second with the shutter speed. It was necessary under compensate the exposure a considerable amount, resulting in the correct exposure on the horses, sacrificing detail in the already dull sky.
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Principles of photo image capture Portraiture Assignment 206
The intention for this assignment was to capture digital portraits using various subjects, equipment, techniques and lighting methods to help convey the visual message
From a health and safety point of view some things had to be taken in to consideration. In the studio environment there are always lots of lose cables on the floor that pose a potential trip hazard. These had to be placed with care and covered with a matt if necessary. Unused equipment was also packed away safely to prevent a cluttered environment.
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The subject was shot in front of a white background using one continuous light to the left, the light was diffused with a white shoot through umbrella. The challenge was creating a high key effect without losing information in the white areas of the image.
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Placing a light behind the subject helped to separate her from the black background, also producing a nice highlight on the left side of her face. The main light was placed slightly to the right and set to shine from above. This produced a good even flow of light on the subject’s face and a slight shadow on the left, adding depth and contrast.
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A single speedlight was flashed into a silver umbrella to create hard lihjt reflecting back on to the subject. Placing the light close to the subject caused the light to “fall off� fast, as per the inverse square law. Taking images with fash involve two exposures, flash and ambient. For this image the ambient exposure was under exposed so no picture was visible when the image was taken, eliminating all other light sources except for the flash. The flash exposure was set to correctly expose the subject when the image was taken.
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When this image of the was taken,500w continuous halogen lights were used, these lights reach very high temperatures and could be a potential burn risk and people were asked not to touch or handle the lights. The wellbeing of the baby was the most important with the parents always close at hand, the room temperature was also a big influence, with the room being a suitable warm temperature without being too hot and cause the baby discomfort.
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On location, the low sun provided the light for this image, forming a pleasant shadow on the side of the face adding definition. The uniform wall leading away from the subject to the stairs is well contrasted by the uneven rocks, with the dog adding a bit of character to the image.
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I used the setting sun shining through the window as bac of the image. The sun produced sharp highlights on the subject’s arm a
To contrast the bright sunlight I used the cameras pop-u An f-stop of 2.8 was used to further more distinguish th 39
cklight, generating anticipated lens flare to the right
and hair, separating her from the background.
up flash on half power to light the subject. he subject from the background, with even soft blur. 40
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This composition was setup and very controlled, with every aspect of it carefully posed. The blue wall and vintage yellow of the amplifier complement each other well, with the guitar in the background adding to a musical feel. The subject was lit using two continuous lights with the left light providing some definition on the inside of the subject’s right leg.
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For the following four images a projector was used as an alternative light source. Beside the light the projector also provided interesting patterns and textures to the images. The light from the projector was very irregular, this made it impossible to set a suitable white balance resulting in interesting colour shades in these images. We had a lot of fun taking these images.
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The light from th me to take this s colour shades add the projector.
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he projector reflecting of the wall enabled silhouette of the subject, with the strange ded by the irregular colour to the light of
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Joe McNally “Joe McNally is an internationally acclaimed photographer whose career has spanned 30 years and included assignments in over 50 countries. He has shot cover stories for TIME, Newsweek, Fortune, New York, Entertainment Weekly, The New York Times Sunday Magazine, and Men’s Journal. He has been at various times in his career a contract photographer for Sports Illustrated, a staff photographer at LIFE, and currently, an ongoing 23 year contributor to the National Geographic, shooting numerous cover stories for those publications.” From Joe’s Website http://portfolio.joemcnally.com/#!/about)
Personally I believe that Joe’s dynamic and energetic approach to Photography is not only appealing but highly motivational. His creative use of lighting, range from simple to complexed, but it always feels accomplishable and his teachings on technique and practice are never too overwhelming for aspiring photographers. Whether Joe is lighting a whole scene or using a single Speedlight, he always seem to capture the authenticity and relevant attitude of his subject.
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Sue Bryce “With nearly 25 years of experience making women look and feel beautiful, internationally renowned photographer Sue Bryce has changed the face of glamour photography. Using her signature photo and video techniques to educate photographers and empower women everywhere, Sue has become the world’s most celebrated and sought-after teacher of portrait photography.” ~Blaire deLaubenfels, Junebug Consultant From Sue’s Website, http://www.inbedwithsue.com/about-sue/
Sue’s ability to capture the natural essence and inner beauty of her subjects, without the feel of emotionless posed fashion portraits, is a valuable talent to aspire to. Through hard work and experience se recreated herself as a glamour photographer and the quality of her work is reflected throughout multiple genres. Her passion and confidence is highly contagious.
There may me many other exciting photographers, but I will always consider these two photographers an inspiration and a valuable resource towards the development of my photographic skills.
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Equipment
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Nikon D7000
iPhone
Nikon AF-S 18-55mm
YongNuo YN560 III Speedlight
Nikon 50mm f1.8 D AF
Interfit EZ lite Twin Head Umbrella Kit 500w
Nikon AF-S 55-300mm
Giottos 9255 tripod
References
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Thanks to Dave for all the fun classes we attended.
All images are copywrite protected
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