For this assignment you will find a model(s), use the lighting equipment that is available, and set up a schedule with your group to use the studio. You may look up ideas and how to set up lights for different moods.
You must set up a date with Ms. Seijas to use the studio.
• Don't have your subject look directly at the camera. Try to capture a natural expression which may mean talking to
your subject as you're photographing them to relax them.
• Don't just stand there—sit, squat, lie down. The angle from which you take a photograph can make a dramatic difference.
• Every time you hold your camera to your eye, look for leading lines, foreground elements, frames—anything you can use to lend dynamism to your image. Photographs are two-dimensional, but it helps if they look and feel three dimensional.
• Create a catch-light in the subject's eyes with a small reflector.
• Don't be satisfied with just a wide shot. Think about the essence of what you are photographing and work closer and closer until you have isolated and captured it. Don't be shy. People are usually happy to show you what they do well.
• If you use objects other than your main subject in the foreground, be careful of placement. You don't want to obscure
or detract from your subject.
WHAT TO DO:
Print out at least 2 different light setups. Shoot as many images showing a variety of lightings, setups, and poses.
You will turn in a digital contact sheet with 36 images. File folder with 36 images, 10 working, and Final 5. You will rename your files LastName_StudioPortrait_(file number). We will have a class critique on the prints to help you determine which compositions work best in regard to the elements and design principles and how to photograph your subject with more interesting view points to attract viewers to your compositions.
You must set up a date with Ms. Seijas to use the studio.
• Don't have your subject look directly at the camera. Try to capture a natural expression which may mean talking to
your subject as you're photographing them to relax them.
• Don't just stand there—sit, squat, lie down. The angle from which you take a photograph can make a dramatic difference.
• Every time you hold your camera to your eye, look for leading lines, foreground elements, frames—anything you can use to lend dynamism to your image. Photographs are two-dimensional, but it helps if they look and feel three dimensional.
• Create a catch-light in the subject's eyes with a small reflector.
• Don't be satisfied with just a wide shot. Think about the essence of what you are photographing and work closer and closer until you have isolated and captured it. Don't be shy. People are usually happy to show you what they do well.
• If you use objects other than your main subject in the foreground, be careful of placement. You don't want to obscure
or detract from your subject.
WHAT TO DO:
Print out at least 2 different light setups. Shoot as many images showing a variety of lightings, setups, and poses.
You will turn in a digital contact sheet with 36 images. File folder with 36 images, 10 working, and Final 5. You will rename your files LastName_StudioPortrait_(file number). We will have a class critique on the prints to help you determine which compositions work best in regard to the elements and design principles and how to photograph your subject with more interesting view points to attract viewers to your compositions.
