PHOTOGRAPHY 10
1. INTRODUCTION:
This course consists of three CTS Communication Technology courses. This is an introductory course, so no experience is
necessary. You will learn the difference between a snap shot and a photograph. We will cover basic Black and White
photography including care and handling of a digital camera, cleaning, composition, exposure, and basic image
manipulation. You will spend the first 3-4 weeks in theory and practice, after which time you will have the opportunity
to take photographs and work on the computers. You will be expected to create a portfolio containing a minimum of 20
assignments. You should have access to a good quality digital camera. Be prepared to spend some time at home taking
photographs in addition to some time during noon hour or after working on the computers (this is in place of
homework). You will be required to keep a record of each photograph--as you take it--on your Photo Log Sheet (not an
option). You can either copy these Logs into a word document table, or scan them when you are done.
2. ENTRY-LEVEL COMPETENCIES: What you need to know and be able to do to be successful in this course.
No prerequisites are required. You must be able to work independently and be responsible for your time and your
actions. You should be willing to spend time at home taking photographs and some time at noon working on the
computer. You will be expected to respect other students in the class as well as the facilities and equipment.
3. EXIT-LEVEL COMPETENCIES: To earn the 3 credits for this portion of the course you must:
-Complete 20 Photography assignments with 20-35 photos and a detailed Photography Log (3 are required: you choose
the other 17).
-Develop a portfolio consisting of the following;
• 20 ‘Good-Copy’ photographs from the assignment sheet (Everything should be organized properly –see belowin your H:Drive
• The Portfolio Photographs must also be printed and mounted with a title, the name of the assignment,
information from your log sheet, etc. Use the elements of Design when designing your portfolio.
4. ASSESSMENT/EVALUATION:
Your mark for this course will be calculated from the assignments as indicated on your Marking Criteria Sheet, from your
critiquing sessions, and from tests and quizzes. Each photo handed in on time will receive a bonus mark on your
Marking Criteria Sheet. You cannot “catch-up” on bonus marks by handing in more photos. Photos may be resubmitted and re-critiqued by the group but will not receive additional bonus marks.
5. ASSIGNMENTS:
You will be required to take and submit a minimum of 20-35 photographs/assignments along with a photography log.
To be clear, the Photography 10 module you want to work on is located at the following link:
http://www.harrycollinge.ca/docs/library/PHOTO%2010%20Package.pdf
Remember, there is a list of Photograph Assignments that you can choose from. You will be using a Digital SLR camera in
the classroom, unless prior arrangements have been made with the teacher.
You must choose 20 of these Assignments (3 of them are required). Each Assignment should have its own ‘Photography
Log’ with information for 20-30 variations of the Assignment (changing things like Shutter Speed, F-Stop, and Lighting).
Choose the best photograph for each assignment to be included in your portfolio. Set up in your H: Drive like this:
Your H: Drive
Com Tech
COM1005 (Visual Composition)
PHOTO10 (COM1205, )
History of Photography
Camera Identification Quiz
Assignments
01ActionShot (required)
AS Photo Log (this can be a Word Document, or scanned)
AS1
AS2
< These are your photos which correspond to your
AS3
photo-log. There should be 20-35 pictures here.
02ISO (required)
03Bracketing (required)
< You should have 20 folders (one
04Bread/Bread Slices
for each Assignment).
05Detail Portrait
Numbered and labeled.
PORTFOLIO
< This is where the ‘good-copy’ of each Assignment should go. There
are 20 pictures in this folder total. Make sure you label each picture for
each Assignment it came from:
01Action Shot
02Bread/Bread Slices
03OldThings
Portfolio Photo Log< Be sure to copy down all necessary information for these photos
from the photography logs.
T
he history of photography is long and often
Frenchman—Lou
vague. Due to the complexity of the
known as a Dagu
development of photography, its invention
Daguerre
and success cannot be attributed to one specific
HISTORY of PHOTOGRAPHYindividual.
-handout
Certain aspects of photography have
Niepce's death in
been around for about 1500 years. However, one
earlier discoverie
produce
thing isDue
for certain,
long beforeofthere
was ever a of photography,
The history of photography is long and often vague.
to the complexity
the development
its an imag
made with
filmaspects
and photographic
developed.
The
invention and success cannot be attributed to one"photograph"
specific individual.
Certain
of photography have been
around
werethere
being
made
cameras. These
15-30
for about 1500 years. However, one thing is for paper,
certain,pictures
long before
was
everwith
a "photograph"
made with of
film
andminutes
seconds
pictures
were
not pictures
like the were
pictures
photographic paper, pictures were being made with
cameras.
These
not or
likephotographs
the pictures or photographs
thatwith the
that
we
have
today,
but
rather,
were
images
that
were
lens
allowed
for
we have today, but rather, were images that were traced onto paper after being inverted. The camera used was called a
traced onto paper after being inverted. The camera
print was a rever
camera obscura.
in a reflected ligh
used was called a camera obscura.
This rudimentary camera was described by Leonardo da Vinci in the 15th century and later by Girolamo Cardanonegative,
in 1550 but if h
This obscura
rudimentary
cameraa was
described
by was fitted
thewith
photo
who added a convex lens to improve the image. The camera
was simply
box or
a room that
a reflect
Leonardo
da
Vinci
in
the
15th
century
and
later
by
appear
lens. The subject would be placed outside the box or room. The subject’s image would then be projected through the lenspositive.
Girolamo
Cardano
in 1550image—although
who added a convex
lensclear-- could then
to the back of the box or the back wall of the room.
The inverted,
projected
not very
improve
the image. The camera obscura was
Daguerre
be traced by artists and later painted or colored to to
produce
a picture.
simply a box or a room that was fitted with a lens.
photograph. Pra
subject
be placed
outside
box or room.
problem with th
The beginning of the photograph as we know it The
began
in thewould
seventeen
hundreds
whenthe
Scheele—a
Swedish chemist—
subject’s
would
be projected
throughwith light.
could
not be rep
repeated some previous experiments of Johann The
Scholze
who image
discovered
thatthen
silver
chloride reacted
Both
lens to the
the box or
theconsequently,
back wall of never
the utilized
reverse
Johann Schulze and Carl Scheele didn't realize thethe
importance
of back
their of
discoveries
and,
them. image on
room. The inverted, projected image—although not
duplicate was de
However, sometime between 1800 and 1802 Thomas
Wedgwood
was be
able
to obtain
very clear-could then
traced
by an
taken.
image using the same ideas as Schulze and Scheele.
Hisand
glory
waspainted
short lived
when hetowas
artists
later
or colored
unable to fix the image and make it permanent, thus
losingaout
to Frenchman Joseph Niepce
produce
picture.
in 1826.
develo
The beginning of the photograph
photo
Niepce used a form of asphalt and oil that was hardened
by exposure
This process
as we know
it begantoinlight.
the seventeen
photo
was slow
Talbot
hundreds when Scheele—a Swedish
(8 hour exposure time), and produced a blurred image
of Niepce's barnyard.
Nevertheless, it
chemist—repeated
some previous
from w
was a permanent image, and although fuzzy, experiments
Niepce had ofproduced
the world's
Johann Scholze
who first
Caloty
photograph. Niepce's glory was also short discovered
lived whenthat
another
Frenchman—Louse
advan
silver chloride reacted
Daguerre—made what was known as a Daguerreotype.
with light. Both Johann Schulze and Carl
outwe
Scheele didn't realize the importance of
photo
Daguerre had worked with Niepce until Niepce's their
deathdiscoveries
in 1833. Daguerre
worked with the
Dague
and, consequently,
PORTRAIT OF LIBBIE WHITELOCK
BY GEORGE ED ANDERSON
earlier discoveries using silver and its compounds
producethem.
an image. In 1835 the
nevertoutilized
Daguerreotype was developed. The Daguerreotype had an exposure time of 15-30 minutes, which was later reduced toWhen th
only 30 seconds with the improvement of the lens. The new
lens allowed
for more
light1800
to enter
print
However,
sometime
between
and the
1802camera. This
earlier
as an Am
was a reversed image, which had to be viewed in Thomas
a reflected
light.
The
metal
plate
was
actually
a
negative,
but
if
held
so
Wedgwood was able to obtain an image
or Daguerreotyp
that the unexposed portion of the photo reflected ausing
dark color,
the image
would
appear
positive.
the same
ideas as
Schulze
and
Scheele. His
glass) was introd
glory was short lived when he was unable to fix the
the early 1850's b
Daguerre had developed the first practical photograph.
Practical—and
yet not
with the
image and make
it permanent,
thuspractical.
losing out The
to problem Bingham—an
Daguerreotype was that the image could not be reproduced.
The
daguerreotype
was
a
reverse
image
on
a
polished
metal
Frenchman Joseph Niepce in 1826.
Englishman—th
plate. If a duplicate was desired, another photograph had to be taken.
Calotype photog
Niepce used a form of asphalt and oil that was
out.
William Fox Talbot, an Englishman, developed hardened
the processbyofexposure
making atophotograph
a duplicate
of that photograph
light. This or
process
was slow
from a negative around 1835. Talbot's process produced
a paper negative
from
which numerous
(8 hour exposure
time), and
produced
a blurredprints called CalotypesThe Calo
could be made. However, the advantage of multiple
copies
was
outweighed
by
the
fact
that itthe
Calotype
photographs
image of Niepce's barnyard. Nevertheless,
was
a
out because th
were not as clear as a Daguerreotype due to the paper
negative.
Collodian proc
permanent image, and although fuzzy, Niepce had
produced the world's first photograph. Niepce's
produced clear
When the Collodian process (referred to earlier asglory
an Ambrotype
or Daguerreotype
on glass) was introduced in the
earlyproduce
was also short
lived when another
could
1850's by Robert Bingham—an Englishman—the Calotype photograph lost out.
negative. The C
The Calotype lostout because the new Collodian process produced clear images like the Daguerreotype,-5-and could
produce multiple copies due to the glass negative. The Collodian Process needed only a 5- second exposure and produced
a glass negative that could be reused to produce numerous positive photographs.
During the next 50 years numerous individuals attempted to modify and improve the Collodian process. Many met with
failure, some with success. In 1878 Charles Bennett discovered that by heating the emulsion on the negative the
uced. The daguerreotype was a
polished metal plate. If a
sensitivity
to light washad
increased,
d, another
photograph
to be reducing the time needed for an exposure, thus making hand-held exposures possible for
the first time.
The progress continued when in 1887 flexible film was introduced by Hannibal Goodwin--an American. Since 1887 the
liam Fox
Talbot, antoEnglishman,
improvements
film have continued. In 1954 the first high speed black and white film, Tri- X was introduced. In 1987
d the process
of well
making
a new high quality films were also introduced to the market. Research and Development
T-Max as
as other
departments
of
all
major
ph or a duplicate of that film producers are continually attempting to improve film and to make it faster, finer grained,
higher contrast.
In 1835.
conjunction with the introduction and development of flexible film the introduction and
ph fromand
a negative
around
development of today's 35mm camera began.
rocess produced a paper negative
ch numerous
prints called
The development
of the modern camera began in the 1890's when George Eastman introduced the Kodak camera. This
was simply
a box with
could camera
be made.
However,
the a lens and enough film to take 100 photographs. When the film was exposed the camera
was
returned
to
the
manufacturer
who would develop and print the photographs, re-load the camera and return it to the
e of multiple copies was
owner.
ed by the fact that the Calotype
phs were
not as
clear
as a
In 1924
35mm
photography
was born when Dr. Leitz introduced the Leica camera, the first 35mm camera. Since the
introduction
of the Leica,
35mm cameras have continued to gain popularity up to the present day. The 35mm format is
otype due
to the paper
negative.
the most popular choice for both amateur and professional photographers alike. Since the introduction of the Leica, basic
designs or looks haven't changed significantly, but, technology and electronic features continue to simplify and
ollodiancamera
process
(referred to
refine the 35mm format. The first Leica camera didn't have a Rangefinder, but this
ype
feature was soon added to succeeding models. As competition for sales of 35mm
n
camera grew, so did the features on the cameras. The most significant change to the
35mm Camera during the 15 years following the introduction of the Leica was the
d in
development of the S.L.R. or Single Lens Reflex camera in the late 1930's.
obert
h lost
e lost
w
PORTRAIT BY GEORGE ED ANDERSON
The SLR feature allowed the photographer to look directly through the lens. The SLR
feature was first found on the Exacta camera. The Exacta camera was the only camera
that used this new feature for many years because most thought that the SLR design was
just a passing fad that would never replace the rangefinder design. However, during the
1950's and the 1960's SLR cameras began to gain popularity and soon became the
standard in the industry. Over the next 20 years the design of 35mm cameras remained
second exposure
and
produced
a glass negative
that
The SLR
feature
virtually
unchanged
with
the exception
of more electronic
features, outer
designs,
andallowed t
could
be
reused
to
produce
numerous
positive
look
directly
through
the lens. Th
the introduction of computer technology. In the late 1980's and early
photographs.
found on the Exacta camera. The
1990's the digital camera was introduced to the mass market.
only camera that used this new fe
During the next 50 years numerous
because most thought that the SLR
ages like
the Daguerreotype, and
The digital camera makes digital images of a photograph rather than storing the images on film. This allowed the images
individuals
attempted
to
modify
and
improve
the
passing fad that would never repl
ltiple copies
dueloaded
to theinto
glass
to be down
a computerCollodian
and manipulated
with various software packages. At this stage
there are basically 2
process. Many met with failure, some with
design. However, during the 1950
dian Process
only a 5- The first
levels ofneeded
digital cameras.
or
consumer
level
takes
relatively
good
quality
photographs
for began
the price
of the
success. In 1878 Charles Bennett discovered that by
cameras
to gain
popularity
equipment ($400 - $1,500). The upper
end
however,
are ablethe
to sensitivity
reproduce to
excellentstandard
images and
areindustry.
used by Over th
heating
thecameras,
emulsion
on the negative
in the
larger companies and newspapers. light
These
cameras
and
their
accessories
can
cost
over
$20,000
and
are
thus
out
of
rangeremaine
was increased, reducing the time needed for an
design of 35mm cameras
for the average photographer. Overexposure,
the next thus
few years
as
technology
continues
to
improve,
the
quality
of
the
lower
end electro
making hand-held exposures possible
with the exception of more
digital camera will no doubt improve.
The
only
other major change to
for the
first
time.
design
35mm photography came in 1995/96 when most major photographic
of com
companies combined their resources and
came upcontinued
with thewhen
new
The progress
the lat
Advanced Photo System (APS). in 1887 flexible film was introduced
1990's
by Hannibal Goodwin--an American.
APS utilizes a new camera, film Since
format
and
This to
system
1887
thecanister.
improvements
film
have continued.
In 1954
thefrom
first the
allows the photographer to take regular
or elongated
photos
speed
black and
film,
same camera and film. When the high
film is
developed
it iswhite
stored
in Trithe
was introduced.
In 1987
T-Max as
original container--thus eliminatingXscratches,
etc. on the
negatives--and
as the
other
new on
high
the consumer is given a proof sheetwell
of all
photos
thequality
roll offilms
film.
were
also are
introduced
theismarket.
The two major disadvantages of this
format
that the to
film
slightly
Research
and Development
smaller than that of a regular 35mm
SLR camera.
Thus the negatives
departments
of
all
major
film
are smaller resulting in poorer enlargements. The other
disadvantage
is
“CATCH THE SUNSHINE” BY GEORGE ED ANDERSON
producers
are
continually
that the film can only be processed in a specialized facility attempting
impacting
to improve
film and to
faster,
those amateur photographers or hobbyists
that currently
usemake
theiritown
darkrooms for regular 35mm photography.
finer grained, and higher contrast. In conjunction with
the introduction and development of flexible film the
introduction and development of today's 35mm
camera began.
introdu
marke
T
makes
photog
storing
This al
be dow
compu
with v
packages. At this stage there are b
digital cameras. The first or consu
relatively good quality photograp
equipment ($400 - $1,500). The up
HISTORY of PHOTOGRAPHY -assignment
After read ing the H istory of Photograp hy H and ou t, com p lete the follow ing tim e-line u sing one or tw o sentences
d escribing or listing im p ortant d ates, nam es, inform ation and d evelop m ents.
TIME-LIN E
1. N IEPCE
2. DA GUERREOTYPE
3. CA LOTYPE
4. COLLODIA N
5. FLEXIBLE FILM
6. TRI-X
7. KODA K
8. LEICA
9. EXA KTA
10. A PS
11. DIGITA L
Study the following parts of the Nikon D3100. You will be given a quiz on the location of
the following camera elements:
NIKON D3100 (Front View)
NIKON D3100 (Back View)
EXPOSURE CONTROLS
(SHUTTER SPEED AND APERTURE)
T
he exposure of a photograph can be controlled
and manipulated using two different functions
on your camera—the Shutter Speed and the
Aperture. The camera has a shutter, which controls
the length of the exposure (light contacting the film or
the digital storage device). The basic function of the
shutter speed is—in conjunction with the aperture—to
get the correct exposure, but the shutter can also be
used to control the expression of your subject’s
motion. To avoid blurred photographs from camera
movement, do not use a shutter speed (Tv) slower
than 1/60th of a second for handheld shots (1/30th
second absolute minimum). The following are three
ways in which the subjects’ motion is controlled using
the shutter.
1.
FREEZE—Usually a certain shutter speed is
chosen to freeze the motion of a subject. The
speed required to do
this depends mostly
on fast your subject is
moving. You can
freeze the motion of a
pedestrian at 1/60
PHOTOS BY CANON
second, but would
th
need 1/1000 second to freeze a passing car.
The motion of this bird was frozen at 1/1000th
second.
2.
BLURRING—Blurring part of the picture
intentionally can give a convincing sense of
action. To blur
the subject, set
the shutter
speed to a
speed slightly
slower than
what you would set it at to freeze the action of
the subject. This photo was taken with a
shutter speed of 1/125th second.
3.
PANNING—To blur the background of the
photograph, choose a
slow shutter speed
such as 1/30th second,
and shift the upper
part of your body to
follow the subjects
motion during the
exposure. This is called panning and is very
effective at relaying the motion of the subject.
Just as the Shutter Speed is used to control the
subject’s motion, the Aperture is used to control the
area of the photograph that is in focus—the Depth of
Field. The lens on your camera has diaphragm blades.
They open and close to form a specific-sized hole, or
aperture. The aperture scale can be found on the lens,
in the viewfinder, or on a digital display. The
numbers on the scale are called Aperture Values (Av)
or f/stops. The aperture influences the depth of field,
which in turn, affects the way a photograph will look.
When your subject is in focus, there is a certain area
in-front-of and behind the subject which is also in
focus. This area of sharpness is called the Depth of
Field. The following are two types of Depth of Field as
controlled by the aperture.
-12-
1.
MAXIMUM OR LONG DEPTH OF FIELD—The
smaller the actual aperture, the wider the
range of sharpness; this is illustrated by the
following photo
which was taken
with an f/stop
(Av) of 16. This
extended depth
of field is good
for such subjects
as landscapes,
large groups of people, etc.
2.
SHALLOW DEPTH OF FIELD—The larger the
actual aperture opening, the narrower or
smaller the Depth of Field. An f/stop of 1.4
can isolate your subject from its surroundings.
This can be used to bring emphasis to a
portion of your photograph, to remove
distracting
backgrounds
and/or
foreground, or
just for
dramatic
impact. The
depth of field is not adjusted by changing the
focal point of your photo. Simply by adjusting
the Av in conjunction with the shutter speed.
ELEMENTS OF COMPOSITION AND DESIGN
C
omposition is the arrangement of subject
matter or visual elements within a
photograph. There are various individual
and separate elements of composition such as line,
shape, position, balance and perspective. However,
when used together in the composition of a
photograph each of these elements should be
virtually unnoticeable individually. The best
composition is the one that's not noticed but is the
most appealing and "works".
LINE
Lines are important in photography. Lines
define and separate an object. Lines can be thick or
thin, black or white, straight or curved, horizontal
or vertical, or oblique. Lines lead an eye, they can
lead an eye out of a picture or they can lead an eye
into the main emphasis of a picture. Consequently,
when selecting a point of view, select one that
allows for any natural lines to lead your eyes
toward the main centre of interest or emphasis.
Lines help to establish perspective or depth and
they tie other elements of the picture together.
Hills, roads, fences, trees, furniture, and cars all
form lines.
In addition to tying elements of a photograph
together, lines contribute to—and often
determine—the mood and action of the photo.
Horizontal lines seem the most natural and are
therefore usually the most pleasing visually.
Horizontal lines tend to make an object look shorter
and wider. They give the feeling of stability and
peacefulness. Vertical lines also give the feeling of
stability as well as strength, but they tend to make
an object look taller. Oblique lines are typically
referred to as action lines. Curved or s-shaped lines
are soothing, softer, and inviting while straight lines
are considered cold and harsh. When using
horizontal or vertical lines be sure to keep vertical
lines vertical and horizontal lines horizontal.
The interaction of horizontal, vertical, oblique
and s-shaped lines form patterns that can give the
photo interest and character.
TEXTURE
Texture refers to the feel or visual "touch" of
the surface of an object. Texture—whether smooth
or rough—gives the viewer something to look at
after the pattern and composition becomes "old".
Texture can change as lighting changes. Side light,
direct light, back light, harsh light and soft light all
affect texture and can either enhance or eliminate it.
Texture provides interest, contrast, depth, and
realism to a photograph.
SHAPE
Shape, simply put, is the combination or
joining of lines. Through shapes alone we can
recognize objects. Shapes may bring back
memories—good or bad—or they may create a
feeling of mystery if the shape is unrecognizable.
When we look at something it is its shape that tells
us what it is.
Shape—even though only two dimensional—
quickly identifies numerous objects. The combining
and mixing of shapes is important. The combined
shapes or objects should be in harmony with each
other. The interaction of shapes helps to convey the
mood of the photograph. If there is no interaction
or if the interaction is in conflict, the photograph
will reflect it. However, if carefully composed and
thought through, objects that are not normally seen
together—or objects that are in conflict—can be
combined with very interesting and pleasing
results. Consequently, you as the photographer
must decide which objects are to be included in the
photograph and which are not, how close they
should be to each other, and if one should be closer
to the camera than the other.
So far we've covered the basic object itself or
its shape. But what about the area around the
object; that area between the object and the border
of the photograph… the negative space? Negative
space is equally important as the positive space (the
object itself). Negative space can add visual
harmony or visual tension; it can be black, white or
gray, round, square or irregular. Visual harmony is
created when the negative space closely resembles
some part of the main object. Visual tension is
strongest when an object almost touches another
object or when it comes near the border of the
photograph. Whatever the negative space is, it is
important that you as the photographer are aware
of it.
WEIGHTING/PLACEMENT
The weighting and placement of an object in a
photograph can influence and alter the impression
or feel of the photo. Weighting refers to where the
main object or subject is positioned. The basic
positions for weighting are top, bottom, centre,
right side or left side, or any combination of these.
Although weighting an object towards the top can
be effective, it tends to make the photograph appear
top heavy and unstable. Consequently, top
weighting should be limited in use.
Positioning the subject in the centre of the
photograph is probably the most “boring” or
-13-
uninteresting place in the composition. When an
object is positioned in the centre the photograph
tends to look methodical and static. However,
when taking formal portraits centre weighting is
acceptable.
Unlike a photograph that is weighted toward
the top, a bottom-weighted photograph appears
very stable and is pleasing to the eye.
Weighting a photograph on either side will tend to
suggest movement; either into the picture or out of
the picture and can give the impression that
something else is going to enter the photograph.
As you begin to compose your photographs, you
will most likely want to position your main subject
slightly off centre according to the 9-zone grid.
The 9-zone grid occurs when you divide the
available space of your photo into 9 equal parts. As
a general rule, place the main object or subject in
your composition on one of the intersection points.
When dealing with more than one subject it is best
to place each subject or group of objects in separate
zones. Odd number of objects—when you have the
choice—are more visually pleasing that are an even
number of objects. The golden Triangle is great for
photographs with diagonal lines. Simply place three
subjects within the triangles.
DYNAMICS
What happens to your eyes as you look at a
photograph? Do they scan the photo looking for
the main subject, do they follow some line leading
out of the photograph or do they remain within the
photograph? This movement of the viewer's eye is
called dynamics. A person looking at one of your
photographs shouldn't have to scan the photo
searching for the main subject. Their eyes should be
directed to it almost immediately. How is this
achieved? There are many ways; the good use of
lines—as mentioned earlier, the placement of a
subject, the composition or arrangement of the
subjects, and where the subject is looking are just a
few of the techniques used.
BALANCE
Think of the last time you played on a teetertotter. If you only weighed half of what your friend
did you either spent a lot of time up in the air or
you were always asking to be let down. If you and
another friend got on the same side to counterbalance the first friend you could go up or down or
even make the "big guy" stay in the air.
These principles of balance work for
photographs as well. We refer to them as either
formal (symmetrical) or informal (asymmetrical).
For the most part, informal balance will give a more
pleasing natural look to your photograph. Informal
balance is achieved by having an odd number of
subjects or main objects, or by including objects
with a variety of shapes or sizes.
Formal balance, on the other hand, is when
you have two similar subjects or objects of the same
size, shape, etc. and everything is “perfectly”
balanced with the centre of the photograph being
the fulcrum or pivot point. The main problem with
formal balance is that it looks too posed or set-up.
Use of formal or symmetrical balance should
be kept to a minimum.
POINT OF VIEW
The point of view refers to where you as the
photographer are taking the photograph from. Try
different points of view when taking your photos.
Don’t settle for your first. Get down low, get up
high. Walk around. Anyone can take a picture just
standing there.
1/3 2/3 RULE… RULE OF THIRDS
This rule is especially important when taking
photographs of landscapes. Generally speaking the
horizon should never be positioned in the exact
centre of the photograph. It should be positioned so
that 1/3 of the photograph is sky and 2/3 land or
2/3 sky and 1/3 land. Doing this will create an
emphasis whereas if it is a 50/50 split there is no
obvious emphasis.
X
9-ZONE GRID
EMPHASIS
The photographs you
GOLDEN TRIANGLE
compose must contain one main idea. In the
previous paragraphs the placement of the main
object and the weighting of the photo were
discussed. The main object should be the dominant
object. Anything that does not contribute to the
"theme" of this dominant object should not be
included. Too often, beginning photographers will
include too much in the pictures they compose. If
an additional object tells another story, doesn't add
to the theme, or just isn't necessary, eliminate it.
Keep it simple and get in close to your subject.
Keep an eye on the negative space and remember
that as a rule, the negative space should be a small
portion of the photograph. Again, get in close and
take note of the increased detail.
An emphasis can also be created by
combining different shapes of objects or by putting
a black object on a white background and visa
versa. It doesn't matter how you achieve emphasis,
just make sure that there is a main emphasis.
-14-
Photoshop Elements 9 Cheat Sheet
How to Navigate the Adobe Photoshop Elements 9 Workspace
The following figure introduces you to the key features; check out the bullets for tips on how to use these features.

This is the icon on the desktop that you need to find: Adobe Photoshop Elements 9

On the Welcome Page Click the “Edit” Button:


Open an image in the Elements Full Edit mode: File > Open...

Open a New Document: File > New > Blank File:

Create helpful „Guides‟ on your file: View > New Guide > [Using either inches or %] (these guides appear blue

Get information about your image by looking at the status bar. Click the right-pointing arrow to get more details regarding your
document.

Need to see detail in your image? Zoom in to your image by pressing Ctrl+spacebar and clicking. Zoom back out by pressing
Alt+spacebar and clicking.

Easily switch between open documents by clicking images in the Project Bin.

Access panels as needed by choosing them from the Window menu or the Panels Bin.

Show files from the Organizer by choosing options from the Show Open Files drop-down menu in the Project Bin.
Adobe Photoshop Elements 9 Toolbox Shortcuts
In Photoshop Elements, you use the Toolbox, or Tools panel, to apply effects and techniques, such as masks, selections,
brushstrokes, and more. The following figure shows you at a glance what keyboard shortcuts enable you to access tools in the
Photoshop Elements 9 toolbox.
The last tool used requires pressing the Shift key and then the keystroke. For example, if the Elliptical Marquee was the last tool
used, press Shift+M to return to the Marquee tool.
Discover Selection Tricks in Adobe Photoshop Elements 9
Many of the cool Photoshop Elements effects begin with a good selection. The following table offers handy how-to's for the most
common Photoshop Elements selection tricks (whether you use Windows or Mac OS X).
PHOTOSHOP ELEMENTS SELECTION TRICK
WINDOWS
Add to selection
Shift-drag
Deselect from a selection
Alt-drag
Deselect all but intersected area
Shift+Alt-drag
Deselect
Ctrl+D
Reselect last selection
Ctrl+Shift+D
Select everything on current layer
Ctrl+A
Hide selection outline
Ctrl+H
Cut selection
Ctrl+X
Copy selection
Ctrl+C
Paste last cut or copied image
Ctrl+V
Paste into a selection
Ctrl+Shift+V
Adjust levels
Ctrl+L
Adjust hue or saturation
Ctrl+U
Adjust image size
Ctrl+Alt+I
Open pop-up menu for Create options
Ctrl+Alt+C
-1-
NAME
ASSIGNMENT SHEET
5-1311-1
COURSE COM: 1005, 1205, 1215, 2205 (Visual Composition, Photography-Intro, Photography-Exposure,
Photography-Composition)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
ACTION SHOT (2out of the 3 required)
ANIMAL(S)
ARCHITECTURE
BICYCLE/MOTORCYCLE
BREAD/BREAD SLICES
CHILDREN/PLAYGROUND
CIRCLES/OVALS
DETAIL PORTRAIT
ELDERLY PEOPLE
FEET
HANDS
LANDSCAPE/WATERSCAPE
LITTER/TRASH
NATURE
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
NIGHT SHOT/SILHOUETTE
OBJECT AND/OR SHADOW
OLD THING(S)
PATTERN
PORTRAIT
PRODUCE/FOOD
REFLECTION
SIGNS AND/OR SYMBOLS
STILL LIFE
TEXTURE
VEHICLE HUB/GRILL/BUMPER…
ISO ASSIGNMENT (required)
BRACKETING ASSIGNMENT (required)
STUDENT CHOICE—FREEBIE
NOTE: As you may have noticed, many of the assignments above include a person or part of a person. You can take
a photograph of a person without their permission if that person is in a public place such as a park, or on the street.
However, although this is legal you can get in trouble if that person objects and becomes aggressive. Consequently,
you should ask permission when possible, and always be considerate of other people.
REMEMBER TO TAKE VERTICAL AND HORIZONTAL SHOTS. SELECT WHICHEVER IS BEST FOR YOUR COMPOSITION.
YOU NEED A MINIMUM OF 20 PHOTOGRAPHS/ASSIGNMENTS FOR YOUR PORTFOLIO
! ACTION SHOTS (ASSIGNMENT #1)
(You need to submit TWO different action shots in
your portfolio)
There are three different types of action shots you can
take. They are Freeze, Blurred, and a Panned shot.
blurred while the rest of the subject is in focus and
relatively clear. This is not always the case, but it is a
good place to start. Again, it is imperative that you
bracket your shots. Crop out all unnecessary elements
that may distract from the photograph and get in
close. Be creative; try different subjects or objects.
Remember that whatever you choose for your subject
doesn't have to move fast for a blurred shot.
FREEZE SHOT- When freezing an object, remember
that the faster the object is moving, the faster your
shutter speed must be. If depth of field is of no
concern, then use the fastest shutter speed you have
on your camera—this will typically give you a shallow
depth of field. If you want a greater depth of field
then you will have to experiment with your shutter
speed and aperture and bracket the shot. Get in close
and eliminate all distractions both in the foreground
and in the background.
PANNED SHOT- In order to get a good panned shot
you must remember to pivot at the waist and follow
your subject as you depress the shutter release button.
This is necessary to get a good image of the subject
and not a bunch of blur. Shutter speed will depend
upon the speed of the subject. The faster the subject is
moving the faster the shutter speed must be. However,
a Tv of 30 or 60 is usually a good place to start. Try to
get it so the subject is relatively clear, while at the
same time keeping the background blurred.
BLURRED SHOT- One of the important things to
remember here is that typically the entire object
shouldn't be blurred. In other words, if a guy is
running, his legs and possibly his arms could be
© BILL BRANDLEY 2002-2010
VULCAN, ALBERTA
-2-
! ANIMAL(S) (ASSIGNMENT #2)
picture without children in it, pay special attention to
the composition of the elements in the photograph.
Tell a story. Get in close—If safe—and let the animal's
character come out. Don't worry if you don't have a
zebra in your backyard. A cow, gerbil, horse, pig, dog,
cat, brother, or any other animal will do. If you take
your shot outside you may want the morning or late
afternoon sun. Be patient. If you wait long enough
something will happen and you'll get the shot you
want. Try to avoid as much distracting background
and foreground as possible. Think of this picture as a
portrait of the animal. Don't just take a snapshot, but
take a photograph that says something about the
animal, its environment, etc.
! CIRCLES OR OVALS (ASSIGNMENT #7)
Your assignment this time is to shoot only circles or
ovals. If there are any other shapes or objects in the
picture they should be secondary. When shooting
circles and ovals keep in mind that they are
everywhere, but you must look for them. Experiment
with arranging your own shots using things around
the house or farm. Don't be happy with the first
arrangement you find or make; try some shots of
several different arrangements. Again, it is often best
to shoot in the sunlight. Remember to get in close and
crop out the distracting foreground and background.
Remember to use dynamics when composing your
photograph.
! ARCHITECTURE (ASSIGNMENT #3)
This assignment is similar to the Landscape/Water
assignment (#12). However, this shot must have some
type of manufactured structure or part of a structure
in it. As before, walk around and get in close. Don't
settle for the first shot. How does the structure relate
to its surroundings? Take different shots at different
angles and camera settings. Experiment.
! DETAIL PORTRAIT (ASSIGNMENT #8)
The major difference between this assignment and the
Portrait assignment is that in this assignment you do
not include the subject's face. You can include a
portion of their face if you want, but do not include it
all. Find a detail that will say something about the
person and crop in on it. The portion of the person
that is showing should tell something about the
person. Don't just take a portrait with a person’s head
cut off.
! BICYCLE /MOTORCYCLE (ASSIGNMENT #4)
The main subject in this assignment must be a bicycle
or motorbike. Not necessarily the entire bike. The
main subject could be the seat, wheel, pedal or chain.
Or maybe it could be a group of bikes. The bikes
could be new, or they could be in a junkyard. Change
your point of view, the lighting if possible, and look
for reflections and shadows. Above all, compose your
photograph and use an appropriate depth of field.
! ELDERLY PEOPLE (ASSIGNMENT #9)
Elderly people have a life's worth of experiences that
can show through in their expressions, skin, etc. As
you take this photograph, make an effort to capture
the subject's feelings, thoughts and passions.
Experiment with different lighting and props. Often
side lighting works best because it shows the texture
of their skin and highlights their features. Get in close
and avoid as much unnecessary background and
foreground as possible. Avoid obviously posed shots
that detract from the expressions of the person. You
don't have to have the person's entire body or face in
the shot. Experiment, and try to get the subject
relaxed and natural. If possible, it is a good idea to get
permission of the individual before taking their
photograph. Whatever you do, DON'T just walk up to
your grandma and snap off a couple of shots as she’s
watching TV. Compose the photograph. Take your
time and put some effort into it.
! BREAD/BREAD SLICES (ASSIGNMENT #5)
This assignment is an exercise in composition.
Chances are, you won't just find the perfect bread
arrangement, but will have to make your own. Try
different backgrounds and lighting sources. You may
want to take the picture outside in sunlight or inside
with very controlled light. The shot can have things
other than bread in it, but the main object should be
bread. Experiment: you can use white bread, brown
bread, pita bread, sour dough bread, French bread,
sliced bread, whole loaves, or whatever. Be creative
and don't settle for the first shot that comes to mind.
! CHILDREN/PLAYGROUND (ASSIGNMENT #6)
Have fun with this one. Kids are a laugh a minute.
Try to get them in their natural state. If you must have
them pose, don't have them doing things that aren't
normal for children. Keep in mind that your shot
doesn't have to have children in it. It could be a shot
of a swing or a slide, or other playground equipment.
Look around and take different shots. Watch out for
distracting backgrounds and foregrounds. If taking a
! FEET (ASSIGNMENT #10)
Get in close. The feet can have shoes on or off. Try
your own feet, someone else's, a group of feet,
footprints in the sand, mud or snow, animal feet, etc.
Shoot the photo from up high, down on the ground, or
from the side. In other words, try different point of
-3-
! NIGHT SHOT AND/OR SILHOUETTE (#15)
views. Try different lighting conditions. Use natural
light or artificial light.
For your night shot try different things. Take a shot of
a sunset, sunrise, during a lightning storm, try a
silhouette, use a flash outside, try a regular setting on
your camera or use the bulb setting and experiment.
Bracketing is a must if you want your night shots to
work out. Remember to always use a tripod or set
your camera on some solid object when using a
shutter speed setting less than 60 (30). You may find
that when you use the bulb setting on your camera
and keep the shutter open for a few seconds or a
minute that your Av (f/stop) may have to be closed
down to a setting of 22 in order to prevent
overexposure. (This would be true for lightening
shots, etc.) Remember to experiment with your ISO.
The higher the ISO the less light you need, but you’ll
also get more noise.
! HANDS (ASSIGNMENT #11)
Hands talk. They may not speak verbally, but they
can tell a lot about an individual just in the way they
look. Are they rough, callused, clean, aged, young?
Try to get in close and exclude all that's not necessary.
Have the hands tell us something about the person.
They can be doing something or just resting in a lap.
Avoid obviously posed pictures and pictures with
distracting backgrounds.
! LANDSCAPE/WATERSCAPE (#12)
The environment around us sometimes goes
unnoticed. People tend to look at human
accomplishments rather than natures’. This
assignment will force you to look at nature and
NATURE ONLY. Avoid buildings, cars, etc., in your shot.
Be careful when positioning the horizon—If you have
one. Avoid positioning the horizon in the centre of the
photograph. Remember the 1/3 2/3 Rule (Rule of
Thirds). Keep the horizon in its natural position. In
addition, remember that a blue, cloudless sky will
usually appear "white" when you develop the picture
in black and white. To avoid this, try and take your
picture when there are some interesting clouds in the
sky. If you are including water in your shot, or if your
shot is all water, look for reflections, or things of
interest that will keep the viewer's eye in your photo.
In addition, you usually need to overexpose your shot
if there is light reflecting off the water. Be creative
and look around.
! AN OBJECT AND/OR SHADOW (#16)
When composing this photograph, keep in mind that
neither the entire object nor the entire shadow has to
be in the photo. Parts of either are acceptable.
However, you should also keep in mind that a person
looking at the photo shouldn't be left guessing what it
is a photo of. In other words either the object or the
shadow should be somewhat identifiable. To get the
best shadows this shot should be taken either in the
morning or in the late afternoon. Try different points
of views. Get down low, up high, walk around and
find out where the best shadows are.
! OLD THINGS (ASSIGNMENT #17)
This is a very broad area, so use it to your advantage.
Don't just look for something old; look for things with
character, things that have been exposed to the
elements of nature, objects with shadows or
contrasting light patterns, anything that catches your
eye. This isn't an assignment in just photographing
old cars and junkyards, although that might do. This
is an assignment to use your imagination and your
eyes, and look for, or create, a visually pleasing
photograph. Get in close and crop out all unwanted
and unnecessary elements.
! LITTER/TRASH (ASSIGNMENT #13)
Look around. Don't take a cluttered picture; look for
some litter with interest. The litter doesn't have to be
in a pile or a trash can. It can be in the gutter, a car,
the school, the store or anywhere. It can be a single
item or a bunch of stuff, a bag or a can. Composition
is important in this assignment to ensure interest.
Remember to have a main emphasis and not a
cluttered picture full of garbage. As with most of your
assignments, sunlight is the best source of light. Look
for litter that tells a story. It may be in conflict with its
surroundings such as a cigarette pack in a rose bush or
in harmony with its surroundings, such as a pop can
inside a recycling container.
! PATTERN (ASSIGNMENT #18)
Try and fill the frame—if possible—with the pattern,
and have nothing else but the pattern in the
photograph. Remember, there are four different types
of lines; vertical, horizontal, oblique, and s-shaped.
Use as many different lines as you want or just use
one, but make sure you have an interesting pattern.
Remember the basic rules of composition, and follow
these rules as possible. Don’t forget your main subject
or emphasis. You will usually get the best result if you
shoot outside in the sunlight.
! NATURE (ASSIGNMENT #14)
This assignment is very similar to the landscape
assignment (#12). However, the nature assignment
allows you to have a bit more flexibility. Your photo
might be of a flower, a tree, a bush, group of wild
flowers, etc.
-4-
! PORTRAIT (ASSIGNMENT #19)
depth of Field is often desirable to isolate the
composition from the background and foreground.
Use a low Av (f/stop). Play with the lighting and
shadows to create the desired mood. Keep it simple
and uncluttered. Watch the negative space.
For this assignment you can shoot either indoors or
outdoors. When shooting indoors, be sure to have
adequate lighting or adjust your ISO. Try variations
with the lighting. Try side-lighting, backlighting, lowlighting with shadows, or direct lighting. If you
choose to shoot outside, avoid having the person face
directly into the sun. Direct lighting from the sun
causes the person to squint, washes out detail and is
harsh. You may want to shoot the photograph with a
small Av of 1.8 or 2 to ensure that the background is
blurred and does not interfere with the portrait. Get
in close to your subject and crop out anything that is
unnecessary or distracting. Avoid including too much
of the subject in the photograph; try photographing
their head and shoulders only.
! TEXTURE (ASSIGNMENT #24)
This assignment requires you to photograph objects
with texture. A good place to start looking is in
nature. Look for as many different types of surfaces as
you can find. As you look for your perfect texture
shot, keep in mind that the textured shots can be in the
gutter, on the road, in a bush, up high, down low, or
anywhere else. Since light makes a big difference
when shooting texture, it is best to shoot when the sun
is low—or at an angle—to the object. Keep in close
and use the negative space wisely.
! PRODUCE/FOOD (ASSIGNMENT #20)
Your assignment is to photograph food/produce. It
could be in the grocery store, on a cutting board, in a
pot on the stove, on the dinner table, in the garden, at
a restaurant or open food market. It could be cooked
or raw or anywhere in between. The important thing
is that the photograph is centered on the food. Use
light and shadows to enhance the food. You should
always ask for permission when shooting inside a
private business or store.
! VEHICLE HUB- GRILL- BUMPER… (#25)
The restriction in this assignment is that the
photograph CANNOT contain the entire vehicle. Get in
close and fill the frame with some detail of the vehicle.
Look for different shapes and patterns, shadows and
reflections, and try to combine these patterns into an
interesting photograph. Don't take a picture of an
entire wheel, for example, but rather, get in close and
focus on some detail or combine the wheel with a
fender to give the picture interest. Look for things
like rust, mud, water droplets, icicles, reflections, etc.
! REFLECTION (ASSIGNMENT #21)
Look for how a reflection intertwines or isolates itself
from its surroundings. The reflection could be from a
lake, a mirror, car mirror, store window, office tower,
sunglasses, hubcap, puddle, or a hundred other
objects. Be creative. Don't take a reflection shot of
nothing. There must be a main subject, something that
will keep an observers attention. Use dynamics and
positioning to add interest to your photograph. Avoid
a cluttered photograph. Keep it clean, clear, and
composed.
! ISO ASSIGNMENT (ASSIGNMENT #26)
Compose and shoot a series of two or three
photographs demonstrating the application and
results of varying ISO settings. It is preferred that you
shoot the same subject. Take notice of the resulting
AV and TV settings and the accompanying noise.
! BRACKETING ASSIGNMENT (#27)
Compose and shoot a series of three photographs
demonstrating the application of bracketing. Shoot
the same subject at the same time. Take notice of the
resulting AV and TV settings and the exposure.
! SIGNS AND/OR SYMBOLS (#22)
Be different. Be innovative. This photograph
shouldn't be a SNAPSHOT of a sign, but it must have a
sign or symbol in it. The sign or symbol should
obviously be the main subject. Try different lighting
techniques—fill flash, silhouette. Remember that
symbols such as tulips, crocus, thumbs-up, etc. can be
used as well.
! STUDENT CHOICE—FREEBIE (#28)
This assignment is here because there always seems to
be an awesome photo that just doesn’t quite fit into
one of the assignments. So have fun, and be creative.
! STILL LIFE (ASSIGNMENT #23)
This is an exercise in the composition of a variety of
INANIMATE OBJECTS. Inanimate objects are non-living
things such as fruit, flowers, etc. You must arrange
the objects. It is imperative that you choose your
background and foreground carefully. A shallow
© BILL BRANDLEY 2002-2010
VULCAN, ALBERTA
-5-
NAME
PHOTO LOG SHEET
COURSE COM: 1005, 1205, 1215, 2205 (Visual Composition, Photography-Intro, Photography-Exposure,
Photography-Composition)
Use this sheet to record the details of each photograph as you take it. Take this log sheet with you when you go out
during class time or after school and fill it in. This sheet will help you keep track of your time, and will allow you to
redo photographs with a minimal amount of setup time. This sheet will be used at the end of the semester to do your
write-ups for your portfolio—so in other words don't lose it. Your teacher may occasionally check this sheet.
DATE TIME
SHUTTER
Tv
F/STOP
Av
SUBJECT
-6-
NOTES/CONDITIONS/LIGHTING/ETC.
DATE TIME
SHUTTER
Tv
F/STOP
Av
SUBJECT
NOTES/CONDITIONS/LIGHTING/ETC.
© BILL BRANDLEY 2002-2010
VULCAN, ALBERTA
-7-
DATE TIME
SHUTTER
Tv
F/STOP
Av
SUBJECT
NOTES/CONDITIONS/LIGHTING/ETC.
© BILL BRANDLEY 2002-2010
VULCAN, ALBERTA
-7-
NAME
BLOCK
ID #
MARKING CRITERIA SHEET
COURSE COM: 1005, 1205, 1215, 2205 (Visual Composition, Photography-Intro, Photography-Exposure,
Photography-Composition)
DIRECTIONS: In your portfolio, arrange the photographs to be graded in the SAME ORDER as they appear on this
Marking Criteria sheet. Each photograph should have a brief explanation regarding the photo, spot burning or
dodging information, and any other helpful information such as the Av (f-stop) and Tv (shutter speed), ISO, etc., and
must use the elements of design in your portfolio layout and design. The explanation must also include which
assignment is being fulfilled; e.g.; landscape, pattern, texture, etc. All text and graphics MUST be computer
generated. See the Portfolio Requirements handout.
Each photograph will be graded on effort, creativity, cropping/framing, exposure, levels, focus and/or focal
point, lack of noise and distractions, according to each individual pictures criterion, according to the rules and
elements of composition, and the individual criteria given below.
TOTAL NUMBER OF
ASSIGNMENTS
SUBMITTED
TOTAL NUMBER OF
BONUS POINTS
(29 POSSIBLE)
ASSIGNMENT
ON
TIME
POINTS
10
MARKING CRITERIA
ACTION SHOTS
-freeze
-blurred
2 Required
-panned
10
focused, effective, correct
shutter speed, no camera shake
focused, effective, correct
shutter speed, no camera shake
ANIMAL(S)
10
elements of composition, effort, story
ARCHITECTURE
10
story, composition, effort
BICYCLE/MOTORBIKE
10
elements of composition, effort, framing
BREAD/BREAD SLICES
10
lighting, composition, effort, lighting
CHILDREN AND/OR
PLAYGROUND
10
elements of composition, effort,
appropriate, story
CIRCLES/OVALS
10
elements of composition, effort
-19-
ASSIGNMENT
ON
TIME
POINTS
MARKING CRITERIA
DETAIL PORTRAIT
10
image, composition, story
ELDERLY PEOPLE
10
image, lighting, composition, story
FEET
10
close, image, composition
HANDS
10
close, image, composition
LANDSCAPE/WATER
10
elements of composition, appropriate
LITTER/TRASH
10
elements of composition, effort
NATURE
10
elements of composition, horizon, effort
NIGHT/SILHOUETTE
10
exposure, composition, ISO
OBJECT & SHADOW
10
effective, composition
OLD THING(S)
10
elements of composition
PATTERN
10
lines, content/close shot
PORTRAIT
10
lighting, cropping, composition
PRODUCE/FOOD
10
elements of composition, cropping
REFLECTION
10
clear, composition, effort
SIGNS/SYMBOLS
10
elements of composition, effort
STILL LIFE
10
lighting, composition, effort
TEXTURE
10
visible texture, lighting
VEHICLE BUMPER/etc.
10
elements of composition, cropping
ISO (required)
10
appropriate subject, no camera shake
composition, etc.
BRACKETING (required)
10
appropriate subject, no camera shake
composition, correct exposures, etc.
STUDENT CHOICE
10
elements of composition, etc.
PORTFOLIO
25
Presentation/effort/organization, no
missing assignments, log sheet and
exposure information complete, etc.
Elements/principles of design, correct
typography, etc.
© BILL BRANDLEY 2002,-2011
VULCAN, ALBERTA
-20-