Plan out the lighting for a scene. Take notes, make a drawing, or mark notations on a reference photo to detail what lighting you need to create the scene you envision. After planning, take the shot and see how well it lines up with what you envisioned.
Reference photo:
https://imgur.com/a/bNmJGgR

After the previous lesson on flash and modifiers, it’s time to expand on lesson 12 from the first semester and dive deeper into the lighting itself, how to best utilize it, artistic representation, and lighting design. And while there are lots of technical terms, artistic ambiguities, and subjective preferences, it all comes down to being intentional with your choices and understanding how to turn those choices into a finished photo.

Intro photo: https://imgur.com/a/umQoDvi

While you may not always be able to control the lighting, you can control where you are in relation to the light to achieve the same effect.)

Qualities of Light https://imgur.com/a/KV4Ka9L

The hard, yet diffused light in this scene helps give a strong contrast with deep shadows that separates the subject from the background without the need for a shallow depth of field. The diffusion keeps the reflective surfaces from becoming too distracting, as well as helping to maintain a more even exposure across the highlights.

We’ve previously discussed the differences in hard vs. soft and specular vs. diffuse, so let’s get into why we might want one over another. The quick and easy answer that gets thrown around is “use the softest light possible” but in reality that’s often not the best choice.

Soft, Diffuse

This lighting works great for simple portraits where you want the subject’s skin to look smooth and even, or in busy scenes where the subject may stand out through color, framing, or texture. The light is even, with fewer shadows to worry about becoming a distraction. It’s fairly flattering for portraits, can work great for getting an even exposure on a landscape, but often lacks the more distinct shadows that can add dimension to a scene.

Soft, Specular

While the difference between a diffuse and specular light can be subtle at times, this style works well for portraits when you want a softer or more flattering light but still want a wider dynamic range. It can be useful in a scene to create a more dynamic image while keeping everything brightly lit, or in adding further contrast to a low-key scene where you still want the model in a softer light.

Hard, Specular

While this is generally considered unflattering for portraits, it can look amazing in landscape or street photography. The high contrast between highlights and shadows can create a dynamic scene based on lighting over color, or can be used to make certain colors stand out. The hard lines of shadow can also be used as a compositional element that interact with the scene.

Hard, Diffuse

While this is much the same as using the more specular light, diffusion over a hard light can smooth out the brightest highlights and let you get a slightly more evenly lit subject in an otherwise high-contrast scene. This can also be slightly more flattering for models when using a hard light, although correct placement of lights (or positioning of the subject when using ambient light) will still have a greater effect on “flattering” light than the diffusion.

Positioning Lights

Modifiers may drastically change the quality of light hitting your subject, but an even greater difference can be made simply by repositioning your lights (or moving your subject in relation to a light). With a smaller light source, the difference of a few inches (or centimeters, for most of the world) can have a significant impact on the final result. For outdoor photos, the difference of a few minutes can impact how the sun hits your subject. In general though, changes in light are measured in broader movements, or in the subjects relation to the light. This leaves a lot of variation and overlap when discussing lighting position but helps give a standard nomenclature to use when planning or discussing your shots.

Near vs. Far

This is the broadest term, but also one of the most useful. It originates in the film industry where exact lighting descriptions are impractical due to actor’s movement through a scene. The fact that it covers a broad variety of lighting is what makes it useful though, and can often be used to tie fairly unrelated shots together in a fairly consistent manner.

The premises of near or far lighting relies on the subject’s position in relation to both the camera and the key light. In portraiture, for example, imagine looking top-down on the model and draw a line running through their head in the direction they’re looking. If the camera and light are on the same side of the line, that’s near lighting. If the camera and light are on opposite sides of the imaginary line, it’s far lighting. While this seems too simplistic to have much impact, simply having the subject turn their head can completely change the look. And if building a series of photos, getting that consistent look of near or far lighting can tie together photos from different sessions taken on different days, while using different lighting setups.

When discussing landscape or street photography the dividing line can sometimes be harder to define but is equally important in creating a consistent body of work. The dividing line may be the face of a building, a terrain feature, or any number of things within the scene that are intended to be a primary subject. This can also help to highlight a non-obvious subject within a scene by tying the lighting on that particular subject to the rest of a set, while the more obvious subject may have a different light.

Feathering

To “feather” a light simply means to turn the light. The source stays at the same point, but the angle is changed in relation to the subject.

This can be used to get a more dynamic shot with a softer light source, as it’s essentially shrinking the source in one direction. The downside is that less of the light’s power is aimed at the subject, so that will need to be factored into the exposure. Especially when balancing with background or ambient light.

Flagging

While we’ve discussed what flags are, using them can sometimes be difficult as it’s an extra piece of gear to coordinate. In general, when placing the flag between the light and subject you have more control and more coverage the closer the flag is to the light. You can also move it farther from the light though and get a more precise coverage of a smaller area. It’s generally pretty simple to pick up on as you experiment, but you can also feather the flag to get even more precise control or place the flag between the light and camera to prevent flaring in the lens (similar to using a lens hood).

Diffusing

Again, this was discussed in the previous lesson but there is more to a diffuser’s application than just knowing what it does. It can soften the light on a subject, but if the subject is lit separately it can also be used to soften the light on the background to add another form of separation between background and subject. And as any diffusion material will also reduce the brightness of the original source, diffusion can be used as a partial flag to dim light on the background without blocking it completely.

Adding them all Together

Lighting descriptions can sound complicated and full of technical jargon, but if you break it down into individual pieces it becomes much more manageable. Let’s look at this image as an example:

https://imgur.com/a/jIz8YXZ

When breaking down the lighting used in an image, it's important to look at the shadows for clues on where the light is positioned, how hard of soft the light is, and if there is a single light or multiple sources. In the same way, we can look to the highlights to see how diffused the lighting is.  Other context clues may include the background, reflective surfaces, catch-lights in the eyes, and textures.  The ability to "read" the lighting in a photo can help when planning your own photographs by giving descriptive terms that will allow you to build up concepts based on reference photos or by giving you the knowledge to know how and when to deviate from a reference.

To begin, we can assume that this is a hard light source based on the sharp edges on the shadows. It also has a steep gradient between whites, highlights, and mid-tones so we can make the judgement that it’s also using a specular light. Putting this together with the background clues of an open fence, trees in the background, and subject matter that is farm related, you can make a strong inference that this shot was taken in natural lighting. And going by the angle of light, we can identify that it was either taken in the morning or evening, likely outside of “golden hour” but closer to those times than noon.

So any control over lighting in this situation was done by time of day and position of the camera. We know that is was taken with little to no cloud cover as the shadows are sharp and distinct, and with the camera nearly perpendicular to the path of the sun (so facing north if it was taken in the evening, or south if it was taken in the morning).

Going by that positioning, we can describe the shot as taken with near lighting, side-lit or slightly backlit, with a single hard, specular light.

Artistic Use

Once you understand the basics of exposure and lighting, it’s fairly simple to get a well-lit photo. There’s more to a photo than just having the shot well lit however, and a large part of creative lighting is deciding what parts of the scene to light, and from what direction.

Do you want only the subject lit? Do you need some of the scene illuminated as well, but want it’s exposure to be darker than the subject? Or do you prefer more of a silhouette? And does that silhouette have a well-lit background, or a single strong source? For a set or series, how similar does the light need to be? Will it look cohesive simply by choosing near or far lighting? Do you want a single hard light in your shots to tie them together, or do you want an even more uniform look and need the same light placement? Does hard vs. soft matter as much to you as that similar lighting placement?

Knowing what you want the end result to look like, and by extension where to place the lights (or place your subject within the light), is an important step in planning a photo. Deciding on the lighting can sometimes be as simple as using what’s practical and available, but utilizing the lights can be purely artistic.

Scenes that are darker or more low-key tend to have a more imposing, ominous, or lonely, or more intimate feel to them. In contrast, brighter scenes tend to be more cheerful, carefree, or personal. The exact emotion evoked can vary quite a bit depending on the exact lighting but the different styles tend to fall in those categories.

You can use that emotional response either to strengthen the response from your audience by using a lighting scheme that works with your composition or to add a dissonance by working opposite to your composition and coloration. A well-lit, evenly exposed shot that has harmonious but faded colors and a smaller subject centered with lots of negative space can use the brighter emotions of the lighting and colors with the more “lonely” emotions from the negative space and muted tones to cause a contrast in emotional response that can be stronger than a single emotion due to it’s conflicting nature. In the same vein, a low-key close up with bright colors can cause conflicting responses that build on each other and add to the effect.

On the other hand, conflicting responses can also simply make the shot look unintentional. It’s definitely worth experimenting with but focus more on what you feel from the result than any chart or list of what styles give what emotions. Knowing the general response is a good starting point, but don’t be afraid to deviate from the general consensus if your lighting isn’t giving you the emotional response you want out of your shot.

Planning the Scene

https://imgur.com/a/qEIkWCR

While some scenes may be more spontaneous and not allow for strict planning, having an idea of what you wish to capture can allow you to position yourself to still use the lighting to your advantage.  In this photo for example, there was less than a minute between seeing the scene unfolding and losing the chance to get the shot. Prior planning of the lighting to keep a consistent look across a series of photos taken throughout the year allowed for an unplanned shot that fit thematically with other shots taken months apart.

To get to the most basic question of lighting setup- Where do you want the light to hit?

Knowing the answer to that question will dictate where your lights need to be, or for a natural light environment where (and when) you need to position yourself. Do you want a dark, low-key portrait with Rembrandt lighting? You’ll need a single light source that’s highly directional, either from a grid or flags, with the light positioned based on where the model is facing to get the shadows on the face in the correct place. Are you looking to get a dramatic landscape? Besides finding the right location, you will also want find the right time and weather to fit your vision. Do you want a quaint coffee shop scene? When does the light shine through the window, or do you have lights you can use to replicate that?

How much of the room needs lit? You may need to either add more lights (or reflectors), or you may need to use flags to keep it from being too bright. Maybe a scrim would help to act as a flag without cutting the light completely on the background. Haze could be used to soften the entire scene without needing to use a softer light and can help the light stand out as an element on its own.

If you plan how you want the light to look, working back to where you need to place lights or position your subject becomes easier and involves less trial to get the scene you want.

#(OPTION 1) -Choose Your Lighting- Within the theme of your final project- Plan out the lighting for a photo to include which lights to use, any modifications, and what effect it will have on the final result. After planning, take the shot and compare the results to your planning. Were there any unintended results? Were there any difficulties you didn’t expect? And were you able to adjust during the shoot to get the results you wanted?

#(OPTION 2) -Modify Your Light- Make an intentional modification to the ambient light to fit the style of your final project, and discuss any difficulties or successes you had in the process. What worked best, and why did it work well for you?

#(BONUS) -Reading the Light- Choose a submission made by another participant, and without reading what lighting they used describe what light and modifiers were likely involved. Then after reading their description, what changes would you make and why? If receiving feedback, defend your position. Why does your lighting work for the look you want? Would the critiques help, or change from your personal style?

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG - flash

^(The ability to add or modify the light within a scene allows for a much more controlled result, allowing your creativity and vision to be unhindered by ambient lighting conditions.)

##What is flash?

In its most simple explanation, flash is any lighting that provides a high-power, short-duration burst to illuminate a scene. There are different types, and each have their advantages and disadvantages. Every advantage from one system comes at a cost, and figuring out which system works best for you comes down to personal workflow. While typically associated with (and most commonly used with) studio portraiture and product photography, flash can also be used in other genres, and more importantly the knowledge of shaping, modifying, and being intentional about light is useful in all genres.

One thing to remember when using flash is that cameras have a maximum sync speed. The sync speed is the fastest aperture where the entire sensor/film is exposed at the same time. At shutter speeds faster than this the rear curtain begins to close before the front curtain has finished opening, meaning any photo taken with a shutter higher than the max sync speed will have a black bar where the shutter curtain is blocking the sensor when the flash fires.

The exceptions to this are when using a flash that has high speed sync (which fires multiple flashes as the shutter is open to illuminate the entire frame) and leaf shutters. Leaf shutters, or variations of it, are found in the lens of the camera and not the body. Generally they were only used in older film cameras although there are a couple notable exceptions such as the Fuji X100 series cameras.

IMG - flash

^(Different lights and modifiers will produce different looks, and will each have situations they are best suited for or easiest to use in. With the example to the right, a single strobe with a 48 inch octobox was used to give a soft light on the subject's face without lighting the background. Strobes are incredibly versatile in a studio setting, but for genres where mobility is needed they are difficult to use.)

##Strobes

In general, a “strobe” is any flash lighting that is for studio use and designed to be mounted to a stand rather than a camera. They are usually large, powered by a battery pack or wall outlet, and have a very high power output. They also have something called a modelling light, which is a bulb that stays on to help visualize how the strobe’s light will fall on your subject.

The main benefit to strobes is the higher power output and built in hardware for modifiers (which will be discussed shortly). This is what you typically see in studio photography, whether for portraits, product, or other commercial photos. They provide a high power output at the cost of size, weight, portability, and expense. There are currently studio strobes available at the same (if not lower) price as speedlights or other alternatives, but the cheaper strobes also tend to be less powerful than more expensive examples.

They are incredibly easy to modify, as they have a mounting bracket fixed around the flash bulb that allows for any sort of modifier to be attached. While there are a few mounting systems, such as the Bowens mount or Elinchrom mount, within each system is a full range of modifiers.

##Speedlights

Also called “flash guns,” these are the smaller flash units typically seen mounted on a camera’s hotshoe for events, weddings, or other situations where the photographer needs to be mobile but still have a source of light. While they aren’t as bright as strobes, the size and portability can be essential in some scenarios.

While I’ve mentioned a few times that speedlights don’t have as high of an output as strobes, that doesn’t mean they’re not capable for studio work. It will restrict the effective distance the lights can be used, the size of any modifiers, and aperture used, but in many cases it isn’t an issue or can be worked around.

##Built-in Flash

This is the pop-up flash that most modern cameras have. It’s not the brightest, it isn’t removable from the camera, it’s difficult to modify, but it’s always there. And sometimes, that’s the most important factor.

While it’s certainly possible to improvise a bounce card for these, for the most part they give a hard, direct light that’s in-line with the lens. It’s generally a look that’s disparaged by professional photographers, but it’s seeing a resurgence as a nostalgic and vintage look and is being used more frequently.

##Constant Lights

Constant lights are generally seen as video lighting, but can be used in photography just as easily. As a whole they tend to have a lower power output than a flash, but there are benefits as well. The main one being that a constant light will show in a scene exactly how the final image will turn out. Where setting up a flash can involve test shots, trial and error, and multiple adjustments to get the light where you want it, shooting with a constant light eliminates those issues. It also eliminates the need for high speed sync when a faster shutter speed is desired, although it’s lower output can potentially be a restriction to faster shutter speeds as well.

Just like with flash there are various types of constant lighting, but for this lesson we will stick to what is most commonly used and most practical.

##COB

Chip-on-Board, or COB lights, are LED lights designed to work in a studio environment. They tend to use the same stand mounts as strobes, have the same modifier attachment points, and are adjustable in brightness. They also tend to have the same form factor. Another upside to COB lighting is that many of them are also capable of color temperature adjustments, allowing you to dial in the white balance of the lights to match any other lighting within a scene.

##Socket-style “prebuilt” softboxes

These are generally considered the cheap option while getting into artificial lighting, and can be purchased as bundles or kits, often for less than a single COB or strobe. The obvious benefit is that you get multiple lights for a lower price than a single light of a different style, and will also include light stands, modifiers, and bulbs. The tradeoffs are durability and versatility. These cheap lighting solutions are usually made with low quality materials, so will need to be treated with care to last more than a few sessions. The options with softboxes generally don’t allow the modifier to be changed, and the options with umbrellas will only allow for other umbrellas to be used. They also don’t have a variable output, so you’re limited to changing bulbs to get brighter lights.

While the downsides are often a good enough reason to stay away from this cheaper option, they can be effective if handled carefully. They are still bright and can be adjusted or moved to fit the shooting style needed. If on a budget and you need lighting, they can be an effective way to achieve that.

##Work/Shop Lights

While not generally considered lights for photography, simple clamp lights can be a cheap way to get a lot of light into a scene. Simple clamp lights are cost effective and have a very high output, with the biggest downside being the need to purchase bulbs separately.

Another potential downside is that there’s no way to attach standard modifiers, but there are plenty of options for creating your own to work with this style of lighting.

##Practical Lighting

The term “practical lights” comes from the film industry but can also translate over to stills. Essentially, these are lights within a scene that aren’t actually doing anything to illuminate the frame but rather to give context or help set the tone. This can be lamps, overheads, windows, fireplaces, candles, or other forms of light that don’t overpower the main lighting used.

Practicals aren’t always essential or even worth considering for some types of photography, but they can help set the tone or mood for other styles. One of the main things to consider if you want to use practicals is how they will interact with the lighting you are using on your subject. If a lamp is causing a color cast on your subject, it may need to be moved or dimmed.

IMG - modifiers

^(While using the same single strobe and similar placement as the previous example, this photo has a deeper contrast and harsher shadows due solely to the use of a smaller modifier. The 7 inch reflector dish gives a harder, more specular light that can look fantastic for gritty portraiture but would be poorly suited for larger groups.)

##Umbrellas

These are generally the cheapest modifiers that are commonly seen, but despite their price they can be incredibly effective. They give off a soft and rounded light source, will generally fill a room, collapse easily for storage and travel, and are lightweight and cheap to replace if damaged.

There are two types of umbrellas, shoot-through and reflective. Shoot-through umbrellas are made with a white diffusion material so that when a light is shined through it will give a soft, even source. Some models can have a black backing attached to prevent spill behind the light source, but generally they are open.

Reflective umbrellas are the opposite, where the light bounces off the umbrella and onto the subject. They can be white or silver to give a different characteristic of light, and are good at preventing light spill that could reflect off other surfaces in the room. There are also diffusion fronts available that will turn these into a softbox (in terms of how the light behaves).

##Softboxes

A softbox, in it’s most basic form, is a dark box that attaches to a light with one side made of a diffusion material. These can come in various shapes, sizes, with multiple diffusion panels, and can be used with the diffusion removed for a soft but more specular light (we will get into that in a bit). As far as the types of softboxes and their uses, here is a short list of the most common types:

##Rectangular

These are simple squares or rectangles that attach to the light and are useful for most styles.

##Octobox

As the name suggests, these have eight sides for a more rounded light source and are often used for portraiture.

##Lantern

These have a bulbous diffusion on the front that is useful for a soft, even light that will also give the entire room an ambient lighting to match the output on the subject. These are often used for video lighting, but also are good for environmental portraiture.

##Strip Box

Strip boxes are simple narrow and long rectangles, and can give a more controlled angle of light while still keeping the softness of a larger modifier.

##Parabolic

Honestly, this is mostly marketing. Most “parabolic” softboxes are no different than standard softboxes of the same size. A true parabolic softbox has the light facing the interior, similar to a reflective umbrella. While a true parabolic will give a unique light that is incredibly directional like a beauty dish (but softer based on the size of the modifier), most “parabolic” softboxes give no different light than any other softbox of the same size. If it attaches to the strobe in the same way other softboxes do, it’s a marketing gimmick. If there’s an attachment arm that has the light facing the interior, you will get the benefits of the parabolic shape and the ability to focus the point of light to get a unique modifier.

##Beauty Dish

Primarily used for fashion, beauty dishes are a parabolic modifier that doesn’t need the excessive size of the softbox. Instead, they rely on a reflector within the modifier to achieve the soft, specular look. They work in the same manner as a (true) parabolic softbox, giving a highly directional light that emulates sunlight.

##Reflector Dish

Not to be confused with a standalone reflector, a reflector dish is a small bowl-shaped attachment that will direct the light from the flash in a more singular direction. They are small, usually 7 inches in diameter, and some also have cutouts for use with umbrellas. They give a very hard, specular light that is focused in a single direction. They can be gelled, diffused, or used with a grid to shape the light further.

##Scrim

Scrims are essentially large diffusion panels, and can be used regardless of light source. They are useful for diffusing sunlight, can be used as a large softbox-style modifier with flash, and are often used to diffuse stage-lighting.

##Reflector Pannel

Generally seen as 5-in-1 reflectors, these panels provide a reflective surface to bounce light into a scene. While a 5-in-1 will generally provide a neutral (white), golden, silver, and black (flag) surface as well as a diffusion panel, all of these can be improvised or purchased separately.

##V-Flat

A V-flat is simply a tall, two paneled surface that can stand on it’s own. They are generally either white to be used as a reflector or black to be used as a flag, and can be used with any type of lighting.

This is a black surface that can be used either to block light by placing it between the light source and subject, or used to prevent reflections by placing it on the far side of the subject. They are great for controlling exactly where a scene is lit, and can be anything from a dedicated panel to something as simple as a black foamcore or posterboard. While often overlooked, these can easily be adapted to mimic almost any other light source or modifier in conjunction with a scrim or silver reflector.

##Grids

Most softboxes have multiple ways you can use them- Either standard, with the diffusion panels installed, with no diffusion for a more specular light, or with a grid. Also called a honeycomb, since it often looks like one, a grid is a useful piece of equipment that often gets overlooked.

The grid is essentially a way to block light from going where you don’t want it. They act as a flag across the entire surface of the softbox or reflector dish, and keep light focused on a smaller area. While they aren’t commonly used, they are great for low-key photos where the subject needs to be well-exposed while the background remains in shadow. A flag can also be used to this effect, but having an item that can be attached to the softbox or reflector means that less space is needed to set up gear to get the same look.

##Bounce Card

These are generally associated with speedlights, but can be easily improvised for other lights. A bounce card is one of the simplest modifiers, as a plain white card of paper or plastic that reflects the light from the flash in a different direction. These are essentially mini-reflectors used close to the flash to re-direct the light’s intensity at the source, and are great for giving a softer look to on-camera flash.

##Gels

A gel is a colored film that covers the light source. They can be either used to adjust color temperature of the lights used (more commonly seen when shooting film) or just to add different colors to the final lighting. This can also be accomplished by using a colored fabric as a scrim, or bouncing light off a colored surface. While not often used for traditional portraiture, they are effective for creative looks and for balancing the color temperature of multiple lights, such as shooting flash and balancing the color temperature with practicals.

##Improvised Modifiers

This section would take far to long if we were to cover every way to improvise lighting modifiers, so we will just cover the basics and the foundation of the how and why so it will be easier to improvise further on your own.

At its core, improvised modifiers are what led to all of the previously mentioned gear. Someone had a concept for how they wanted the light to look, and found a way to make it happen. And now, even with all the fancy gear available, this is still the essence of intentional lighting.

What do you want the scene to look like? Do you prefer a bright scene with soft shadows and and even light? Do you want harsh and deep contrast? And more specifically, where do you want the light to fall within the frame? The more intentional you are about the light, the easier it will be to create it to match your vision.

Materials are often simple enough. A black cloth or posterboard to act as a flag. White posterboard to be a reflector, or cover it with aluminum foil for a more specular light. White semi-opaque cloth to diffuse light, or a “frosted” curtain, or something similar.

Placement is usually the more difficult part. And it comes down to what you want out of the light. Do you need more light in an area? Less light? Softer light, or maybe something more colored? Pre-conceptualizing a shot will allow you to find what you need, and based on what that need is there are a number of materials available to make it happen.

• Poster-board/Foam-core: These are great for reflectors or flags, and easy to mount or hold as needed. With the added benefit of being cheap.

• Aluminum foil: This provides a much more specular reflection than a white material, and can be shaped to fit the lighting you need. It can also be shaped to modify lighting, or layered over an existing reflector to give a more specular source.

• Remnants: Most fabric stores (or fabric sections of department stores) have the scrap ends of fabric left over from cutting custom sections for other customers. They are cheap, but also perfectly usable for either a reflector or diffuser (with white material) or a flag (for black materials). They can be more difficult to mount or hang, but are also more flexible as you can cut them to any shape needed. In a pinch they can be used as gels too, but you may need to boost the power of the flash to compensate for the thickness of the material.

• Walls and Ceilings: That’s right, sometimes a wall is all you need. Whether its blocking light or reflecting it, the wall is already there. It can sometimes be difficult to build your scene around the light rather than build your light around the scene, but when the wall already exists it becomes a cheap option for modifying light. When used with flash it becomes a convenient reflector. If the wall is colored, it’s a soft gel. In the sunlight, a wall can easily be a reflector or a flag depending on the time of day.

• Clouds: Clouds are another great natural modifier. They act like a giant scrim in the sky, and can be useful for either softening light on a subject or as a way to soften light around a subject to help with separation. This takes much more planning (and luck), but is just as effective as using other modifiers to change your light.

IMG - intention

^(Knowing how to use light is just as important as what lighting you use. With a massive six foot -about two meter- reflective umbrella and five foot -~1.5 meter- strip box used, the example photo still has a fairly hard light due to the distance between the light and subject -about 20 feet/6 meters-. The distance also allows for the background to be lit, and the large modifier helps keep the light from being too "hard" on the subjects.)

Now that we’ve covered the basics of gear, lets dive into how to actually use it.

To begin, WHY do we modify light? Whether it’s due to poor natural lighting conditions, consistency, not having enough light, or simply wanting something different than what’s naturally available, there are many reasons why we might want to change what’s naturally available. The first step to modifying your light is to find the reason you want it changed. It doesn’t help to slap an expensive softbox onto an expensive strobe if there’s no reason to change the light that the sun is providing for free. Humans have been modifying light since the discovery of fire, and modifying it for photography is simply an extension of that desire to have light available outside of what’s provided by the sun.

To go further, HOW do we modify light? We can either add or subtract, but while that sounds simple there’s a bit more to the how than just using more or less light. Obviously adding more light will make a photo brighter. Except that it will only brighten the area you add the light to, and if you keep the same exposure the overall light will seem darker. You can subtract lighting, but that can also lead to underexposed photos if the subject isn’t still well lit, or overexposure on the subject. While the basics of “put something in the way and light won’t ht this area” and “add something reflective so light does hit this area” still apply, to get into the details we really need to look at one of the key principals of light:

##The Inverse Square Law

Light behaves in a predictable format- the closer the light source is, the brighter it looks. From it’s point of origin light will reduce in power twice as fast as it increases in distance. It sounds confusing, but it boils down to this; If you double the distance between the source of light and your subject, the intensity of the light is quartered. If you halve the distance, the intensity of the light is increased by a factor of four. To simplify further, the closer the source of light the brighter it gets, and it gets brighter faster than it gets closer.

This can be used to great effect for low-key photos or where you need a much brighter light on a subject. If you have distance between your subject and the background, you can get the subject much brighter than the background just by moving the light closer. For example, if the light is about two feet away from your subject and about eight feet away from the background, the light will be about 16x brighter on your subject than the background.

IMG - soft IMG - hard

##Soft vs. Hard

While working with the same model, the lighting difference between a soft light (left) and a hard light (right) can have a drastically different outcome. The prominence and definition of the shadows is completely different with the only change being how soft of a modifier is used.

When a light is described as soft, it just means that the source is large. This can be either through physical size (a six foot softbox will be softer than a two foot softbox) or distance (a three foot softbox will give a softer light when it’s two feet from the subject than when it’s ten feet) The key is that it’s the size of light in relation to the subject. Just as a car will appear small enough to cover with a finger when it’s far enough away even though the car itself is large enough for multiple people to ride in, a modifier will be larger in relation to the subject when it’s closer, and therefore give a softer light.

But to cover what hard vs. soft light really means, it’s an observation on how the shadows that the light casts appear. A hard light will give sharp, distinct shadows. A softer light will have a more gradual gradient between the darkest shadows the light casts and the mid-tones. With a soft enough light, shadows will disappear entirely.

IMG - specular IMG - diffuse

^(Where soft light has a more gentle gradient in the shadows than hard light, diffuse light has a more subtle gradient in the highlights than specular lighting. The difference is more subtle than hard vs. soft light, but can just as easily showcase the artistic vision of the photographer and drastically change the resulting image.)

##Specular vs. Diffuse

This is the lesser known side of lighting. It’s often confused with hard or soft light, but specularity is an independent factor from the softness of light. Just because a light is diffused does not mean it is a soft light. It is possible to diffuse a hard light source, just as it is possible to have a specular light that is also soft.

Just as the softness of a light will show in the gradient of the shadow, the specularity shows in the gradient of the highlights. More specular lights will have a hard, bright highlight while a more diffused light source will have a more even distribution between highlight and mid-tones.

To get a more specular light, you can remove the diffusion panels from a softbox or use a silver reflector over a white one. The less scattered the light, the more specular it will appear.

IMG - shaping light

^(While lighting intentionally, distinct choices in lighting can be used to get a cohesive and flattering look. While this is most obvious with portraiture, the same concepts can be applied to any genre. The key is to plan the lighting you want before taking the shot, and to either shape the light to what you want or to shoot in a time-frame and location that gives that lighting.)

##Shaping Light

Now that we’ve looked at some of the different aspects of light, let’s dive into how to actually use it. The first step is to have an idea of what you want. Does your subject look better with hard or soft light? Does specular or diffuse light fit your style better? Is your subject to big to add or change the light? If you know what light you want, it’s much easier to find what you need. Even if it doesn’t look the way you want after the first shot, knowing what you want it to look like can help guide you into getting your perfect shot.

##Adding Light

The first step to shaping light is looking at where you just need more light. Do you have a single subject that needs to be well lit? Or are you shooting an event where the ambient lighting is too dim and you just need everything to get brighter to have a clean photo? And for landscape photographers, what is the feature you want to stand out?

For closer subjects, adding light can be as simple as holding up a reflector to bounce sunlight into the scene. Flash can be used to brighten a subject against a brighter background, or to illuminate a subject on a dark background. If you have multiple lights you can manually balance all the lighting in the frame.

For subjects in landscapes, this may mean you need to wait for the best weather patterns. Are the clouds making the scene too soft? Or is the lack of clouds making everything too harsh, even in the early morning or late evening? What about seasonal effects, such as the annual dust from the Sahara adding haze to North America in the late summer/early fall? While you may not be able to directly modify the light, knowing what type of light you want on the scene can make it much easier to predict when the weather forecast will line up with the type of shot you want.

With flash you have the choice to balance against ambient light or overpower it. If shooting outdoors you can adjust the power and/or distance of the flash so the exposure on the subject matches the exposure on the background, or in situations generally seen in studio you can completely overpower any ambient light. When balancing the light, the goal is generally to make it look like there’s no flash involved. When overpowering light the goal is generally to have only the flash affecting the photo, so if you were to take a shot with the same settings but the flash off the frame would be pure black.

##Subtracting Light

Without any artificial lighting you can still modify the light by restricting where it hits. Flagging an area, either to prevent light from hitting somewhere or to prevent reflections, can be a simple way to modify your lighting even if you have no control over the light source. If using flash, flags can still give you more control over exactly where and how brightly the light shows.

Adding diffusion will also reduce the overall brightness from the source, whether it’s artificial or natural light. Besides becoming softer the light will also be dimmer in comparison to the bare source.

##Setting Up

There is no “right” way to set up lights, just as there is no “right” way to frame a photo. While there are guidelines meant to help understand lighting, in the end it comes down to what you want out of the shot.

Do you want a darker photo? Flagging the background or adding more light to your subject can help. Are you after a high-key photo? Focusing more light on the background than the subject is all that’s required, how you accomplish that is individual preference. The key to both of these is pre-visualization.

With a solid concept of what you want the final product to look like, you can base your lighting decisions to match the final desired result. Whether you’re flagging sunlight, finding a location where the light is reflecting the way you want, bouncing a speedlight off a room’s ceiling, or setting up a reflective umbrella that’s taller than the average person, knowing what you want to capture will help you find the best way to capture the shot. Without the concept of how you want the final shot to look it is difficult to craft the light to match.

IMG - key light

^(The main light that illuminates the subject is called the "key" light. While other lights may play a role in giving context to the scene, the key light is the source that lights the subject.)

##Key Light

The key light is the main light source in an image. While this is generally the light that’s on your subject, it can also be focused more on the background, placed behind the subject as a rim-light, or positioned in other ways. The location and size of your key light will be the main factor in how the overall look of the shot. An on-camera speedlight bounced off a ceiling will have a drastically different look than an off-camera speedlight behind your subject, even though both would be considered the key light for a one-light setup. The main focus of the key light is to make the subject visible within the frame. When only using one light, it’s automatically the key just by virtue of being the only source of light. With multiple lights, reflected lights, or other methods of lighting the key is the light that is directly on your subject. It doesn’t need to be the brightest of the lights used, but it’s the light that is used for the primary exposure of the subject.

IMG - fill light

##Fill Light

While the Key light in this example photo is also a rim-light, the flash is used as a fill to prevent the face of the subject for being in shadow. In this particular example the sunlight is the brightest light, but the fill from the flash allows detail to be visible in both the horse and person. When balanced well with the ambient (or key) light, it can be difficult to tell when an extra light was used. In other cases, still allows for the subject to be visible in a primarily backlit scene.

A fill is simply a light used to brighten shadows caused by the key light. When shooting outdoors a flash may be used solely as the fill to match the sunlight behind a subject. In-studio, a reflector or second flash can be used to keep the shadowed side of the subject from becoming too dark. Either way, the fill light is meant to brighten shadows and give detail that normally wouldn’t be visible.

IMG - rim light

^(Rim light highlights the back and edges of a subject, and while it is often used in conjunction with a key and fill light it can also be used on its own for a more dramatic and "film noir" style of light.)

Also called a hair light, rim-lighting is used to add highlights from behind a subject either to give separation from the background or to give more dimension to a subject. When solely using a rim light you can also get dramatic silhouettes. A rim-light can be bounced off a background to get high-key photos or simply to act as a fill light on the background.

IMG - choosing

^(Knowing what light you want for your scene can be the difference between a generically “well lit” photo and a photo that shows who you are as a photographer.)

The style of lights you choose will depend heavily on what genre you prefer to shoot. A speedlight is great for weddings or events, and can be used for studio work as well when needed. Strobes are fantastic for in-studio work, but can be cumbersome to set up and use on-location and are poorly suited to moving around. Neither one would be a good fit for landscapes, where the best option is careful planning for the light based on time of day, time of year, and weather. For street photography you may only need the on-camera flash on rare occasions, and just like with landscapes you plan your shoot based on time and weather, with the extra focus on how the buildings will affect the light in your shot. Or if you like the late ‘90s/early ’00s “candid” look, you may want to rely exclusively on the hard, direct light from the pop-up flash.

Modifying your light is just as important as the light itself, and can often have a bigger impact. It doesn’t matter the light source, if you use a large modifier you will get a very soft light with little shadow and a long gradient. Bouncing a speedlight off a ceiling will give you an even lighting that can be more effective than a softbox when you’re on the move. Using a grid or flags will keep the light focused only on the subject, allowing you to get the chiaroscuro style of Rembrandt or Vermeer (or think film-noir in movies).

While it’s a bit more obvious when a studio photographer is selecting lights and modifiers, it can also be seen in landscapes when the time and weather is specifically chosen to capture a very specific direction and style of lighting. Some photographers will plan out a location months in advance to be on-location at the perfect time. While street photography tends to be less planned, you will still see photographers choosing specific locations to shoot at different times based on how the light will be interacting with the environment.

##Practice Metering Experiment with your camera’s metering modes (Matrix/Evaluative, Center-Weighted, Spot) by photographing three different scenes: outdoor bright light, mixed indoor light, and low-light/backlit. Capture the same scene using each mode, then compare how the exposure changes. Submit three photos per scene and write a brief reflection on your experience and preferred mode.

#Take a photo.

• Your photo can be of any subject, in any setting. It should be inline with your project.

• Be intentional about which metering mode you are using. You should be able to recognize which and know why you chose what you did.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG - Metering modes

^(Various lighting conditions will benefit from different metering modes. How would you meter the above photo?)

##Metering Modes Metering modes are one of the less flashy, but more vital components to consider for a proper exposure. How the camera meters the light is essential whether you’re using auto/priority modes or full manual and have an effect whether you’re shooting with a DSLR or mirrorless with live view.

The metering modes are how the light meter within the camera biases it’s reading and can make getting the correct exposure much easier once you know how they all work. For the basics though, each metering mode balances the exposure based on what part of the frame is deemed “most important” and will adjust any auto or priority modes based on that reading. There is also a meter either on the bottom or side of the viewfinder (or display) that shows where the exposure will be, with “0” (or neutral) being centered and positive (overexposed) and negative (underexposed) to either side. Usually, this meter also tells you how many stops over or under exposed the image will be.

##Standard While cameras now come with multiple modes, most still have the basic metering of measuring all the light in the scene. This mode, while it has different names depending on the camera manufacturer, has no bias or interpretation and simply reads the light from the full scene. Everything is averaged out, and any calculations on brightness are based on the overall light across the entire frame.

##Matrix/Evaluative In this mode, the camera is still evaluating brightness across the frame but is also judging the scene based on where those bright and dark areas are. It will make a decision based on how the frame is arrayed as to what it thinks is the best exposure for the type of scene you’re shooting. For the most part this mode is fairly effective, it’s becoming the default on many cameras, and will give fairly consistent results for most photography. Matrix mode still evaluates brightness across the entire frame but will bias any priority modes based on where the brightest and darkest parts are. So, if you have a really bright sky taking up most of the frame but the subject is in shadow, such as for backlit portraits, it will suggest the exposure to keep the subject visible instead of just an average.

##Center Weighted Center-weighted metering focuses on the light just from the middle of the frame. While this can be problematic for landscapes, where the areas you want brightest aren’t usually centered, it can be incredibly helpful for faster paced genres where you want the subject exposed properly and the background is less important. This is also a great mode if you plan to use the Auto Exposure Lock (AE-L) while shooting. This will let you provide the camera with a specific input for exposure and then recompose the image without the camera changing settings on you.

##Spot This mode is best used with smaller subjects, distinct differences between bright and dark areas, and is perfect when using AE-L. It’s similar to center-weighted metering, but even more focused on a smaller area within the frame. This allows you to specify an exact point to measure for brightness and leaves less guesswork to the camera.

##Highlight Some cameras have a highlight priority mode, which focuses entirely on protecting the highlights in your image. This can be useful for landscapes, studio work, or any other shots where retaining as much highlight information as possible is needed. And while incredibly useful for protecting highlights, in highly dynamic scenes this can also lead to loss of detail in the shadows.

##Selenium Cell So far, we have discussed metering modes on modern cameras. For older cameras there are also a few variations, but they essentially function the same as the selenium cell, so that’s what we will cover. Selenium is a light sensitive mineral that produces an electric current dependent on the amount of light that hits it. Because the fluctuation in the current is constant to the amount of light it's exposed to, this allows the camera to give a reading based on the available light even for cameras that have no electrical components. The issue that can arise it that it’s dependent on the light hitting the camera, not the scene. If you are standing in brighter light while your subject is in a shaded area the meter reading will give you an underexposed frame, or vice-versa if you’re in the shade and your subject is in brighter light.

##Handheld Light Meters While all modern cameras, and most functioning film cameras, have some sort of light meter built in there are also handheld light meters available. While these are mostly irrelevant to modern photography it can still be important to understand their function.

##Incident Readings Incident metering is how the selenium meter functions and is more useful off-camera than it is on-camera. Having a handheld meter allows you to measure the light at the subject, instead of at the camera. This is incredibly useful in portraiture where you’re trying to meter off the subject’s face, as it doesn’t matter how the rest of the scene is lit if you take the reading from where the subject will be standing.

##Spot Readings This functions the same as spot metering in-camera, where the meter looks at the light from a specific point in the scene to determine the optimal exposure.

##Flash Some (more expensive) handheld meters allow incident readings based on the output of strobes or flash. This can be helpful even with modern gear as it can eliminate test shots to dial in exposure. While not essential if you’re using a digital camera, for using strobes with analog gear it is absolutely needed if you don’t have a digital camera available to dial in exposure.

##Metering in Manual While metering modes will adjust settings for you if you’re in an auto or priority mode, it will still give you a reading even if you’re shooting fully manual. While it doesn’t change any of your settings, it will give you an estimate of whether your shot will be over or under exposed before you press the shutter. With a DSLR this will be the only way you have to monitor exposure when looking through the optical viewfinder, so knowing how your camera is metering the scene is incredibly important.

With mirrorless cameras, or when using the live feed on the back screen of a DSLR, you will get a preview of the scene but depending on the screen’s brightness and the ambient light it can give a false sense of the exposure. Knowing the metering mode can still help with ensuring the screen’s brightness isn’t giving you a false sense of brightness as you shoot.

##Exposure Compensation When using auto or a priority mode, you can also use the exposure compensation dial to fine tune how the final image will turn out. This can be either a physical dial or a function button that allows you to adjust whether the camera will intentionally over or under expose based on the meter’s reading.

This is useful for when the camera isn’t getting the exact exposure you’d like, but there are still too many changing variables to go fully manual. It can also be useful in a priority mode just to fit consistently with your preferred style.

##Reading your Histogram One feature of mirrorless cameras (and some DSLRs in live view) is the ability to see the histogram before you take a shot. Although the histogram is generally a feature used while editing, if you have access to it while shooting it can be a useful tool to judge your exposure prior to shooting.

The far right of the histogram is the white point while the far left is the black point, and the vertical axis shows how many pixels are at that brightness level. Just like with adjusting exposure in post, adjustments in camera will affect how the histogram looks. If you overexpose, the lines of the histogram will be pressed against the far right. If underexposed, they will be at the far left.

Sometimes though, you will want a mostly under or overexposed shot. The histogram will look unbalanced but can be helpful for figuring out exactly what’s going on. For example, with a low-key portrait the majority of the photo will be dark or completely black. If the histogram shows the largest grouping in the middle, then there may be an issue with keeping light off the background. And for a high-key photo, a “balanced” histogram can indicate that there isn’t enough light on the background. Using this to help dial in a photo before you press the shutter can speed up your workflow considerably without relying on finding out in post how bright or dark your shot really is.

For cameras that don’t have a live histogram, this is another area where spot metering will shine. It can allow for proper exposure on your subject while ignoring the areas you want intentionally bright or dark.

##Conclusion Each of these metering modes has its benefits, and each its limitations. The key to using them is the intention with the style you shoot with and the context of the scene you’re in. You may find yourself using primarily one mode for the majority of your work but having the knowledge of when to change modes can help with difficult lighting, unusual conditions, or even simply trying something new and finding the most effective way to capture it.

##Choose intentionally.

For the remainder of the assignments, we’re asking you to work on your project. That means all the assignments should be done with your project in mind. Don’t feel like you have to end up using all the images in your final project, but they are available for that if you decide to.

##Take a Photo.

• Your photo can be of any subject, in any setting. It should be inline with your project.

• Be intentional about which focus mode you are using. If you’re using autofocus, be intentional and know which mode you used and what focus point(s) you used. You should be able to recognize which and know why you chose what you did.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

VID - End of summer check-in

#Autofocus

IMG - auto or manual?

^(Choosing the right focus mode will make your life as a photographer endlessly easier. Looking at the above photo, what do you think would have been the best choice: auto or manual focus?)

By now, you are likely familiar with focusing your camera. It’s simple, right? Half-press the shutter release, the camera focuses, and then finish pressing the button to fire the shutter. And honestly that really is the basics of it.

There’s a lot more to focusing though, and while it’s not essential to simply taking a photo the knowledge can be incredibly helpful in speeding up your workflow and getting more functionality from your gear. Between the various focusing modes and types of autofocus there are a number of factors you can leverage to improve your photos if you understand the differences and limitations of each. So, to begin:

##Phase Detect vs. Contrast

There have been different ways that autofocus has worked over the years, and the primary methods have been contrast detection and phase detection. Contrast detection is fairly self-explanatory: the camera detects areas of high contrast and shifts the focus until that area has the sharpest boundary between areas as possible.

With Phase Detect, it functions more similar to a rangefinder. The light from the edges of the lens are picked up by separate sensors multiple focusing sensors are incorporated into the imaging sensor) and when they converge they are considered “in focus”

So what does this mean?

In short, cameras with Contrast Detect autofocus are going to focus on areas of high contrast. If you try and focus on areas of lower contrast then the sensor will struggle to find focus, whether it’s due to similar lighting, low-light, or just a general lack of variance in the light’s contrast. With Phase Detect, it can be faster and more reliable as it’s lining up the areas of contrast, not judging purely on how much contrast there is. It will still struggle in low-light or when there’s not enough variation in light, but is generally faster and more reliable.

##Autofocus Modes

There are also differences in how the camera applies the focus. The biggest difference, one that almost all cameras apply, is continuous focus vs. single focus (AI servo vs. One Shot for Canon users) These are the main concerns when shooting, as each has distinct advantages and are both available across camera systems.

Single Focus (One-Shot): This is the standard mode for digital cameras, and easily the more commonly used mode. Essentially, when your camera focuses in this mode it will find the focus and then hold that focus until either the photo is taken or the shutter is released completely and focusing is began again. This mode is incredibly useful for still subjects, focus-and-recompose (which will be covered more shortly), and most general use.

Continuous Focus (AI Servo): This mode isn’t great for still subjects, as it allows the camera to continue to change focus until the shutter is fully depressed. What it does excel at is focusing on moving subjects. As the camera continually adjusts its focus up to the point where the shutter is triggered, it will track moving subjects through the frame. Whether your subject is pets, children, athletes, or other fast moving subjects this mode can allow your camera to keep the subject in sharp focus.

Eye, Face, and Tracking: Many cameras within the past decade have implemented focusing on a subject’s face or even their eyes, and they have improved detection for both people and animal faces. While for the most part this doesn’t change anything about the focus mode used it will allow for a more precise focus without the need to adjust the focus point manually. This is helpful for subjects that are in motion, but also is a fantastic resource for subjects that may move suddenly and quickly. There are absolutely methods to get precise focus on a still subject, but if your subject is moving or likely to move if you take too long to focus then using the face/eye tracking can help acquire focus quickly and consistently.

Manual Focus (with an autofocus lens): This is a bit generally unused simply because it usually doesn’t make sense to focus manually if you have autofocus available. There are times, however, where slight manual adjustments can make the difference between “good enough” and “perfect.”

Usually, you will not be able to focus manually if autofocus is enabled. It requires a dive into the menu to make it work. And in most situations it’s completely unnecessary, which is why it is defaulted on many cameras to not be allowed without digging through menus. There are times though where you may want to use autofocus but it doesn’t quite focus where you want. If there’s a high-contrast area right beside where you want the camera to focus, if the subject isn’t perfectly still while the camera autofocuses, or if the focus isn’t perfect while using focus-and-recompose, then the ability to manually adjust can help.

Back Button Focus: This feature is usually either loved or hated, but either way it’s a focusing mode that’s worth knowing about. Essentially, it decouples the focusing from the shutter button and maps it to a different button on the camera. For faster-paced photography such as sports or pets it’s generally less effective, but can still be used when pre-focusing on an area to capture any action as it comes into a pre-decided spot. It’s also fairly common among landscape photographers as it allows the photographer to set their focus before fine-tuning the composition. It will allow the focus to be set without needing to worry about the camera re-focusing when going to take the shot. It functions basically the same as using the autofocus-lock (AF-L) but without needing to hold the button to keep the focus constant.

Most cameras require setting up back button focus through the menu system, but there are some that will allow for back button focus simply by switching the camera’s focusing mode to manual. In those cases, the default focusing button is typically the AF-L. In these cameras it’s much faster to switch between back button and standard autofocus, but in the end the effect is the same. It’s worth trying out, and if it’s something you prefer to use then it’s not likely you will be changing back and forth often anyway.

IMG - Autofocus continues

^(Once you’ve decided to use auto mode, making sure you’re on the best autofocus mode and using the right focus points means the difference between missing focus and a sharp photo where you want it to be sharp.)

##Focusing Motors

Getting back to the gear side of things, aside from the camera body’s focusing capabilities the lens also plays an essential role. There are a number of different motor types that each have their advantages, whether in cost and size or speed and silence. While it’s important to consider the performance of a lens before making a purchase, it’s more important to understand the limitations of the gear you currently have. For example, a stepping motor will generally be quick to focus but may seem to “jump” as opposed to a silent wave/ultrasonic motor which tend to be smoother and nearly silent (but also expensive and need a larger lens housing).

When buying a new lens its focusing motor can be nearly as important as cost, but for the most part it’s better to learn how to work within (and overcome) any limitations of the gear you already have. Slower motors may require a bit more pre-planning if shooting faster action, and louder motors may be more difficult to use if shooting close up video with on-camera audio or a mic that’s close enough to pick up the sound.

##Putting it All Together

Knowing when to use different autofocus modes, or to focus manually, can have a major impact on achieving better focus during a shoot. Having the experience with your gear to know what works best with your workflow can be the key to nailing focus in otherwise challenging situations. While it’s likely you won’t switch constantly through modes as you shoot, knowing the modes and which methods benefit your style can lead to working faster, more accurately, and overall can give you more confidence in the techniques you’re using.

##Focus Points

While fairly explanatory, it’s still worth covering how to use focus points to your advantage. Depending on the camera, you can shift where in the frame it will grab focus through either moving the point with a toggle/joystick, buttons, or by tapping on the back LCD screen. Setting this will let you frame your subject how you prefer without needing to move the camera around just to get focus. This works great with more mobile subjects where you may not have time to reframe a shot once the camera is focused. It’s also useful in pre-focusing, where you can compose your shot and then wait for your subject to move into frame.

##Focus and Recompose

Again, the term is self-explanatory. Using this method involves focusing the camera and then framing your composition before firing the shutter. It can be useful for relatively static subjects where you may be moving around more, or for rapidly changing scenes where you don’t have time to change focusing points between shots.

##Auto + Manual Focus

This method tends to be used for static scenes where perfection is desired. Sometimes the autofocus gets close, but the exact point you’d like to focus doesn’t have enough contrast for the focus to be perfect. Or you get focus and then the subject moves slightly closer or farther. Either way, it can sometimes be easier to let the autofocus get “close enough” and then tweak the focus manually to get it perfect. The downside to this method is the fact that it’s much slower, but it does allow for more precision.

###Manual Focus

IMG - manual focus

^(The above photo was taken with an old manual film lens (Helios 44-2) adapted to a Fujifilm X-T10.)

Autofocus technology has advanced significantly and, in most situations, will outperform a photographer’s ability to manually focus. For stills photography, relying on AF allows you to work faster and more efficiently, especially in fast-moving environments like street photography, sports, or wildlife, where precision and speed are key.

However, there are notable exceptions where manual focus becomes advantageous or necessary. In low light, such as when capturing the night sky in astrophotography, AF may struggle to lock onto a subject. Similarly, when shooting macro photography, where depth of field is razor-thin, manual focus gives you greater control over exactly what part of the subject is sharp.

Tilt-shift lenses, often used in architectural photography, require manual focus because of the unique way they manipulate the plane of focus. Budget lenses, which may have slower or less accurate AF systems, might also benefit from manual focus to achieve the sharpest results. Lastly, in video work, manual focus is often used to maintain consistent focus during movement, ensuring smooth transitions that autofocus can’t always guarantee.

Understanding when to switch from autofocus to manual focus can help you navigate a variety of challenging shooting conditions and produce sharper, more intentional results.

##Using manual focus

Manual focus film cameras often included built-in focusing aids in the optical viewfinder to assist photographers in achieving sharp focus with greater speed and precision. These aids were crucial in the era before autofocus systems, allowing photographers to work confidently, even in fast-paced or challenging conditions.

One common focusing aid was the split-image rangefinder, which displayed a split view of the subject in the center of the viewfinder. When the subject was in focus, the two halves of the image would align, indicating sharpness. Another popular tool was the microprism ring, which surrounded the split-image area. When out of focus, the microprism would cause the subject to appear blurry or shimmer, and once the focus was correct, the shimmering would disappear, providing a clear signal of sharpness.

These focusing aids were particularly useful in fast-moving environments like street photography or portraiture, where achieving precise focus was critical to capturing a fleeting moment. Though autofocus has largely replaced these manual methods, many photographers still appreciate the tactile and deliberate nature of manual focusing with these aids, especially in classic or vintage cameras.

##SLR Manual focusing demo

The following video demonstrates how the manual focus works on an older SLR (Minolta X-700 - my personal favorite SLR). Video source: @ttcalan

VID - manual focusing

##Low Light

Your camera’s autofocus system relies heavily on the available light to detect contrast and lock onto a subject. It needs a certain level of brightness and contrast to perform efficiently. In well-lit environments, autofocus works quickly and accurately because the camera can easily detect differences in light and shadow, allowing it to pinpoint the subject and lock focus.

However, in low-light situations, the camera’s autofocus may struggle or fail to work entirely. This happens because there isn’t enough contrast for the autofocus system to differentiate between the subject and the background. As a result, the camera may hunt for focus, continually moving the lens back and forth without finding a clear point to lock onto. You might notice this in dimly lit rooms, at night, or during events like concerts, where artificial or uneven lighting complicates focus detection.

In extreme low-light scenarios—such as when shooting at dusk, indoors without adequate lighting, or in environments like astrophotography—autofocus may be so inconsistent that manual focus becomes necessary. Some cameras have features like an autofocus assist beam or the option to switch to higher-sensitivity AF modes, but even these have their limitations.

When you encounter poor autofocus performance in low light, switching to manual focus gives you complete control over where to set your focal point, ensuring that your subject remains sharp despite the challenging lighting conditions.

##100% Magnification Live View

In challenging focus situations, like astrophotography or macro photography, using your camera’s Live View at 100% magnification can be a game-changer. When you enable Live View and zoom in on your subject, it allows you to fine-tune your focus with much greater precision than using the optical viewfinder alone. This feature is particularly helpful in low-light scenarios or when working with shallow depth of field, where even slight focus errors can be noticeable. By zooming in to 100% magnification, you can manually adjust focus until your subject is perfectly sharp, ensuring accuracy that’s hard to achieve otherwise.

When working in macro, keep in mind that as magnification increases, usable depth of field quickly shrinks. When taking macro photos, the plane of sharp focus is very thin, often a couple of millimeters. Generally, a human operator makes better use of that narrow DoF.

##Bahtinov Mask

A Bahtinov mask is a popular focusing tool used in astrophotography to achieve precise focus on stars and other celestial objects. It’s a physical mask that fits over the front of your lens or telescope and creates a diffraction pattern when pointed at a bright star. This pattern produces three distinct spikes, and when the middle spike is perfectly centered between the other two, your focus is spot on. Once focus is achieved, you can remove the mask and proceed with your exposures. The Bahtinov mask is widely regarded for its simplicity and effectiveness, allowing even beginners to achieve sharp focus in the challenging conditions of night sky photography.

##Tilt Shift

Tilt-shift lenses provide a unique way to manipulate both focus and perspective through manual control, making them valuable tools for specialized photography genres like architecture, landscapes, and product photography. Unlike regular lenses, tilt-shift lenses offer two key adjustments: tilt and shift, each serving a distinct purpose.

The tilt function adjusts the plane of focus by tilting the lens relative to the camera’s sensor. This allows you to manipulate depth of field more creatively than with a standard lens. You can achieve either an extended focus range, keeping both foreground and background elements sharp, or a selective shallow depth of field to emphasize specific parts of your image, often creating a “miniature effect.” This is particularly useful in product or landscape photography where controlling focus across different planes can be challenging.

The shift function, on the other hand, is used to correct perspective distortion, which is especially helpful in architectural photography. When photographing tall buildings, for example, vertical lines can appear to converge if you angle your camera upward. The shift function moves the lens independently from the camera body, ensuring that vertical lines remain straight, providing a more accurate and professional representation of the scene .

One key aspect of tilt-shift photography is that it’s entirely manual focus, requiring a more deliberate, slowed-down approach to composition. Mastering this technique takes practice, and many photographers find it beneficial to use a sturdy tripod to maintain precise control while making adjustments.

Additional reading on tilt shift:

• Adobe: Tilt shift photography

• Cambridge in Color

• Cambridge in Color, part two

##Budget Lenses

If you can work without autofocus, there are several budget-friendly options for expanding your lens collection, and adapting older lenses is one of the most popular approaches.

##Adapting Film-Era Lenses

Many photographers turn to vintage lenses from the film era, which can be easily adapted to modern digital cameras. These lenses, often made with high-quality glass and craftsmanship, are widely available and significantly cheaper than modern equivalents. Adapters for mounting old lenses onto digital bodies are affordable and can open up a whole new world of creative possibilities. With decades of lens production from brands like Canon, Nikon, Pentax, and Minolta, you can find lenses in every focal length, aperture, and style, from portrait primes to telephoto zooms.

The process is relatively straightforward for many camera systems, especially mirrorless cameras, which are particularly adaptable due to their short flange distance. The only downside is the manual nature of these lenses—they lack autofocus, and you’ll also need to adjust the aperture manually in many cases. However, for those who enjoy a more hands-on approach to photography, the tactile experience and control offered by these lenses can be very satisfying .

##Budget-Friendly Third-Party Lenses

In addition to vintage lenses, third-party manufacturers like Samyang (also known as Rokinon in some regions) produce manual focus lenses at a fraction of the cost of autofocus models. These modern manual lenses are often designed for niche uses, like astrophotography or portraits, where autofocus isn’t always necessary. They deliver high image quality at a lower price because they eliminate the electronics required for autofocus, making them an attractive option for budget-conscious photographers .

IMG-Break

^(Break: a time to detox, reflect, play catch-up, and practice.)

We’ve come to our semester break - somethingsomething how time flies somethingsomething. First off, congratulations on making it this far! You should be very proud that you have been able to stick with this course for 23 lessons. Now that we’re taking a break for a summer, it’s a perfect opportunity for you to start focusing on your long-term project, or if you skipped some lessons, get caught up. Remember, just because there won’t be a new lesson each week, you’re not alone. The discord is still there for you, and you can still join a peer group (click this link to sign up) to have a cohort of accountability friends. In addition, you’ll find a list below of some photography exercises that you can do to keep your skills progressing throughout the next few months. We’re also going to ask for your feedback on the course thus far. Please fill out this feedback form - be honest - we’ll be using it as a metric for the upcoming semester, and next year’s course.

#Semester Break Exercises

To keep those photography and creativity gears turning during our time off, here’s a list of some photography exercises. Do not feel like you need to do them all, they’re here for you on days when you’re feeling stuck or uninspired. You can also check in on the 52 Weeks challenge for additional support.

#Constrained Shooting Exercises

Constrained shooting is an excellent way to work on your photography skills. By removing certain variables and focusing on specific limitations, you can sharpen your creativity and problem-solving abilities. These constraints force you to think more critically about composition, lighting, and subject matter, encouraging you to explore new perspectives and techniques. This method of practice helps to develop a deeper understanding of your equipment and its capabilities, ultimately making you a more versatile and skilled photographer. Here are some constrained shooting exercises to try out for yourself:

• One Hour, One Block: Spend an hour photographing within a single city block.
• Single Lens Day: Use only one fixed lens for all your shots in a day.
• Fixed Focal Length: Shoot all your photos at a single focal length.
• One Object Challenge: Choose one object and photograph it in 10 different ways.
• Black and White Only: Shoot exclusively in black and white.
• 24 Shots, No Deletions: Limit yourself to 24 shots (like a roll of film) and don't delete any.
• Single Aperture: Use the same aperture setting for all your photos.
• No Zooming: Use only the zoom you get by physically moving closer to or further from your subject.
• Only Vertical Shots: Take all your photos in portrait orientation.
• Single Subject: Choose one subject and focus all your shots on it for a day.
• One Color Dominance: Photograph scenes where one color dominates.
• Fixed ISO: Set your camera to a single ISO and keep it there.
• Low Angle Only: Shoot all your photos from a low angle.
• No Post-Processing: Take photos that you won’t edit afterward.
• Single Location: Spend an entire shoot session in one location without moving.
• One Light Source: Use only one light source for all your shots.
• Manual Focus Only: Use only manual focus for your entire shoot.
• Reflection Only: Capture only reflections in various surfaces.
• Only Shadows: Focus exclusively on capturing shadows.
• Single Shutter Speed: Use only one shutter speed for all your shots.
• Minimalist Shots: Create images with minimal elements.
• Single Lens Filter: Use the same lens filter for all your photos.
• One Prop: Incorporate a single prop in all your images.
• Fixed White Balance: Set your camera to one white balance setting and keep it there.
• Double Exposure: Create a series of double exposures.
• One Theme: Choose a theme (e.g., happiness, solitude) and stick to it.
• Slow Shutter Only: Use long exposures for all your photos.
• Daytime Silhouettes: Capture only silhouettes during daylight.
• Low Key Photography: Focus on creating low-key (dark) images.
• One Time of Day: Shoot all your photos during a specific time of day (e.g., golden hour).
• Single Color Backgrounds: Use backgrounds of a single color for all your photos.
• Textures Only: Focus on capturing different textures.
• No Autofocus: Turn off autofocus and manually adjust for every shot.
• One Camera Setting: Use a single camera mode (e.g., aperture priority) for all your shots.
• Monochromatic Scenes: Shoot scenes that are predominantly one color.
• Environmental Portraits: Take portraits in a single type of environment.
• In-Camera Effects: Use only in-camera effects for creative shots.
• No Flash: Avoid using flash for all your photos.
• High Angle Only: Capture all your photos from a high angle.
• Through an Object: Shoot all your photos through another object (e.g., a glass, window).
• One Lens Attachment: Use only one type of lens attachment (e.g., macro lens).
• Same Subject, Different Times: Photograph the same subject at different times of the day.
• Zoom Lens at Fixed Focal Length: Use a zoom lens but keep it at a fixed focal length.
• Single Aspect Ratio: Use one aspect ratio (e.g., 1:1, 16:9) for all your shots.
• One Background: Use the same background for all your photos.
• Only Natural Light: Use only available natural light.
• Long Exposure Day: Use long exposures for every shot.
• Only Manual Settings: Shoot entirely in manual mode.
• Same Frame Composition: Keep the same frame composition for all your photos.
• Fixed Perspective: Shoot all your photos from the same perspective (e.g., eye level, bird's eye).

#General Photography Exercises

While constrained shooting is a great way to challenge yourself, there are plenty of more open photography exercises which will also give you some focus and direction. These exercises can encourage experimentation and exploration while still providing a framework to guide your creativity. Open exercises allow for more flexibility and personal expression, helping you to discover your unique style and voice as a photographer. Here are some ideas:

• Write your name in photos - find each letter of your name, or objects that can be creatively framed to look like a letter in your name. Edit them together to write it out.
• Choose a shape (circle, square, triangle) and photograph objects that fit that shape.
• Photograph the same location at different times of the day to capture varying light conditions.
• Make a series of images showcasing different textures (smooth, rough, soft, hard).
• Photograph reflections found in puddles, mirrors, windows, etc.
• Photograph objects that create a gradient of colors when placed together.
• Experiment with long exposures to capture motion blur in a scene.
• Photograph your subject through another object (e.g., through a glass, a hole, or a fence).
• Experiment with macro or extreme close-ups of objects to highlight their fine details.
• Find and photograph symmetrical scenes or objects.
• Take photos of subjects in silhouette against a bright background.
• Use natural or man-made frames (like windows or arches) to frame your subject within the photo.
• Create photos that play with perspective to make subjects appear larger or smaller than they are.
• Take portraits of people reflected in various surfaces.
• Experiment with creating double exposure photos either in-camera or through editing.
• Photograph scenes or objects that subtly resemble human faces.
• Photograph small objects to make them appear monumental.
• Photograph a single subject from multiple angles and perspectives.

#Next Steps

We’ll be returning to the course in September. Until then, work on your long-term project when time allows, try out some of the above exercises, and maintain activity with your peers in the discord. We’ll try and have regular meet-ups throughout the next few months, so check in on events in the discord, and we’ll pick up with the next lesson September 2, 2024! Have a good break!

##Make a Plan. Make a Photo.

For this week we want you to make a plan for your final project. Remember that any planning you do is living, meaning it can change and evolve throughout the duration of your project. The plan you make this week does not have to be comprehensive, it is just to get you started with the process.

As we’re at the end of this semester, your photo for this week is going to be completely open-ended. Just make a photo! Any photo! The important thing is to have fun with it. With the photo, include what kind of feedback you’re looking for.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG - Beginning a Project

^(Selfies Across Europe was a personal project I started in 2015. Its intent was to showcase the shift in how we travel and how we share our travels. The project ended up written about in numerous publications worldwide, and there were a lot of strong feelings about it. My initial intent was often overlooked, and photos taken out of context, but that is a risk an artist takes when sharing their projects. While it's important to be clear in our intent, remember that it may not always translate and consumers of your art may interpret it differently. If you're interested in my approach to this project, this interview best describes my mindset and intentions with the project. Note: it's in French, so google translate may be your friend. https://www.konbini.com/arts/compte-compile-photos-touristes-selfies/)

###Revisit of Brainstorming and Planning

This week is a continuation of last week’s lesson. It’s also the last lesson of the ‘semester.’ That’s right! You’ve made it halfway through the course. Pat yourself on the back, and take pride in the fact that you’ve managed to stick with it this long! Before we step into our summer (or winter, for our Southern Hemisphere friends) break, let’s discuss next steps.

Last week you started brainstorming your personal project. We tried to make it very clear that what you did last week may be, but doesn’t have to be, the framework for your final project. Planning personal projects takes time, and it’s unreasonable to expect that you were able to do it all in one week. Your assignment from last week was just to get you thinking about the entire process and move the mindset from week-to-week assignments to long term projects. What that means is that you may need to do the process again. In fact, we’d expect that you would do it again. The time during the summer/winter break is to give you the opportunity to really think about and work on your project.

###Beginning Your Project

With all that said, let’s assume that you went through the brainstorming and storyboarding process, and came out on the other side with an idea and a course of action. Now it’s time to implement those ideas. When diving into a long-term project, you should think of yourself as the Project Manager. Of course, you’re every other role, as well, but putting on that PM hat will set you up to approach the project in an organized way, which will ultimately allow you to focus on the photography when the time comes.

###Step-by-Step Plan for Your Project

• Define Clear Objectives: Establish what you aim to achieve with your project. Are you focusing on a particular theme, technique, or subject matter? Write down your goals and what success looks like to you.

• Create a Timeline: Break down your project into manageable phases. Set deadlines for each phase to keep yourself on track. This could include research, shooting, editing, and final presentation.

• Gather Resources: List the equipment and materials you’ll need. Consider any additional items like props, lighting, or software you may need.

• Scout Locations: If your project involves specific locations, plan visits to scout them out. Take note of the lighting conditions, possible angles, and any logistical considerations. I find it helps to document the scene when scouting. I’ll often just take dozens of shots of the entire space with my phone as reference photos. Be sure to note the time of day you were there as well as the weather conditions.

• Build a Shot List: Outline the specific shots you need to capture to fulfill your project’s objectives. This will help you stay focused and organized during the shooting phase.

• Plan for Contingencies: Consider potential challenges and how you’ll address them. This could include weather conditions, equipment failure, or scheduling conflicts.

###Implementing Your Plan

• Now that you’ve laid the groundwork, it’s time to start executing your plan. It can be difficult to stay on track, especially when a project spans a long period of time. To keep yourself focused, try to do the following:

• Stay Organized: Keep all your notes, shot lists, and schedules in one place. If you’re an analog-type person, grab a new notebook and use it only for your project. There are also loads of apps to help you stay organized. Some project management apps include: Trello, Asana, and Notion. Popular note taking apps include: Evernote, OneNote, and Google Keep. Task management apps include: Todoist, Microsoft To Do, and Any Do. Calendar apps are also useful and you probably already have an efficient one on your phone.

• Regular Check-ins: We will have regular check-in meetings on the discord where you can share your progress with teachers, mentors, and peers. I would also suggest teaming up with one peer to keep yourself motivated and on track. You can also just check-in with yourself. Adjust your plan as necessary based on what’s working and what’s not.

• Stay Inspired: Keep your creative juices flowing by seeking inspiration from other photographers, art, or nature. Don’t be afraid to pivot if a new idea excites you more than your original plan. Your brainstorming can always be revisited as a baseline for your process.

• Seek Feedback: Share your work with peers or mentors throughout the process. Constructive feedback can provide new insights and help you improve your project. We will also have regular feedback sessions throughout the summer and remainder of the year.

###Finalizing Your Project

As you near the end of your project, begin to think about how you will present your work. Keep in mind that you have until the end of the year to finish your project. This is not something we expect you to be actively engaged in just yet. We’re talking about it now just so you have all your resources together in one place, and can come back to it as a reference point. When thinking about finalizing the project, consider the following:

• Culling and Post Processing: Later in the year we will go more in depth about culling and making sure you’re presenting your best work in the manner in which you intend. To make your life easier later on, when importing photos for your project, go through and label ones which you’re considering for your final project. Culling in smaller batches makes it less daunting later on. Just keep in mind that months down the road, your project may have taken a turn and some of the photos your disregarded earlier on may fit your new scope. Be open to revisiting and re-analyzing your culls. When you get to the post processing step, approach it from a holistic perspective, thinking of the project as a whole, and not individual photos. This doesn’t mean slapping on the same preset and calling it a day, it means being open to different approaches for each photo in order to draw attention to the cohesion of the project.

• Presentation: Decide how you want to showcase your project. This could be an online portfolio, a physical photo book, a zine, an exhibition, et cetera. When considering how you’d like to present, think about who you want your audience to be and how you want them to consume your work.

• Reflection: Reflect on your process and what you’ve learned. During the summer, jot down learns and challenges in your learning journal. Documenting this can be valuable for your personal growth and future projects, as well as making final decisions when it comes to which photos you’ll present and how.

By going through these processes and revisiting them regularly, you should be able to remain on track for your final project. Remember to regularly check in with yourself and your peers.

If you are interested in being in a peer group, fill out this form. Peer groups will be smaller groups of other participants. You will have private discord channels where you can have regular voice meetings or just keep each other accountable and share feedback. It’s a great way to have other photographers to bounce ideas off of and stay on track. Keep in mind that peer groups will be organized through discord, so if you’re not in the discord server yet, it’s best that you join it. Here is an invite link.

Next week we will address how the summer will play out logistically and set you up with a set of exercises that you can complete during the time off.

##Brainstorm. Storyboard. Make a Photo.

Think of this as a trial of preparing for your long term project. We want you to do a mini-prep. Go through the steps outlined in this lesson, and see what you come up with. This doesn’t have to be your end project, it can be, but you still have time to commit to something else if inspiration strikes. Once you’ve brainstormed and storyboarded, take one photo which fits the theme or idea you came up with. If you’re comfortable sharing your mind maps and storyboards, include those in your submission. Include a write-up of your process and how the image works within your theme.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG - Personal Projects

^(Personal projects can come from various motivations. The above photo was taken one random sick day in Spring 2015 when I was feeling run down and stripped of all creative freedom. I decided in that moment to start a 365 day self portrait project. I set specific goals and limitations which I committed to for the remainder of the year. The planning set me up for success -- aside from the fact that I forgot 2016 was a leap year and it turned into a 366 day project. Best laid plans.)

##Starting a Personal Photography Project

As you know, we will be asking you all to complete a long-term personal project in this course. Over the past 20 weeks you’ve tried new techniques, explored different genres, and most importantly got some real hands-on experience. In the previous assignments we’ve asked you to think critically about your own work, what challenges you, and what you genuinely enjoy doing. That will be the basis of your personal project. We’ll start with brainstorming and planning out how to best approach your chosen idea.

##Why Personal Projects Matter

Personal projects are your chance to focus your creative energy into something that matters to you without the recourse of client input, forced deadlines, thematic limitations, et cetera. They are a rewarding experience with numerous benefits such as…

Creative Exploration:

They allow you to explore new themes, techniques, and styles without the constraints of client work. They also allow you to make endless mistakes, which often lead to discovering new techniques or interests. When working on a long-term project, you’ll find that you’ll see a visible evolution of your work from the first photo to the last. The story and cohesion you create within the project will help you to understand your strengths and creative objectives.

Skill Development:

Working on a long-term project helps you hone your skills and deepen your understanding of your chosen subject. You may find that you have a final image in mind, but aren’t sure how to achieve it. The flexibility of a personal project gives you ample opportunity to continue learning and trying new things, which will ultimately increase your skill level across the board.

Portfolio Building:

A well-executed personal project can enhance your portfolio, showcasing your creativity and commitment. Whether or not you’re interested in making photography anything other than a hobby, having a portfolio is rewarding. Even if you don’t share your portfolio, having a selected body of work for your own reference brings pride in your own achievements. A personal project is a wonderful basis for a strong portfolio.

##Brainstorming Ideas

Identify Your Interests:

Start by listing topics, themes, or subjects that genuinely interest you. These could be anything from street photography, nature, portraits, or abstract concepts. Reflect on the assignments from the previous weeks - were there any which resonated with you more than others? Is there another hobby or cause which you feel strongly about?

Research and Inspiration:

Look at the work of other photographers for inspiration. Identify what speaks to you and why. Consider how you can put your unique spin on these ideas. Remember that you can get inspiration outside photography. Look to other media for sparks.

Mind Mapping:

Create a mind map to visually organize your thoughts. Write your main idea in the center and branch out with related concepts, techniques, and potential subjects. I find that doing this is a great way to find links in your thinking, which may lead to a cohesive idea. You can also try freewriting. Set a timer for 10-15 minutes. Put pen to paper. And write. Don’t let the pen stop - it doesn’t need to be grammatical or even comprehensible. When you revisit your freewrite, you may find that your mind led you to a strong idea.

Theme Selection:

Now that you’ve considered your own interests and sought out inspiration, it’s time to choose a theme. Choose one that excites you and has enough depth to sustain a series of photographs. Ensure it aligns with your goals and interests. If you can’t narrow it down to one, workshop more than one to see if one theme or idea lends itself better to a project.

##Planning Your Project

Define Your Project Scope:

Determine the scope of your project. How many photos will it include? Remember the (soft) deadline for your final project is December 31st. Be realistic about what you can achieve within that time period.

Set Specific Goals:

Outline clear, actionable goals for your project. These could be technical (e.g., mastering a specific lighting technique) or conceptual (e.g., telling a story through images). Do these goals align with your overall goal you set at the beginning of the year?

Create a Timeline:

Develop a timeline with milestones. Break your project into smaller tasks and set deadlines for each stage. This will keep you organized and motivated. We will check in on the project throughout the remainder of the year, but setting your own timeline will allow you to realistically work it into your schedule.

Gather Resources:

Identify the resources you’ll need, such as equipment, locations, models, or props. Make a list and start gathering what you need. If you’re not sure what you’ll need, leverage the knowledge of your mentors and peers. Talking out your project with your classmates will be beneficial.

Storyboard Your Ideas:

Create a storyboard or shot list to visualize your project. Sketch out or list the key shots you want to capture. This will serve as a guide during your shoots. Don’t worry about the quality of the storyboard - it’s for you and you only, so it really only has to be decipherable for yourself.

Take the First Shot:

It’s one thing to map everything out, it’s another to actually make the first shot. I have been mapping and working on the preparatory steps of a long term project since 2016. In 2019, I finally took the first shot. The weight of my own expectations were keeping me from diving in headfirst, but after that first shoot, the project finally seemed obtainable. The photos themselves are not ones I’m particularly proud of photographically, but knowing that they were what got me out of my own head in the planning process makes them infinitely more important to the project as a whole. You can plan and mindmap and storyboard ad infinitum, but pressing that shudder for the first time makes it real. Don’t put pressure on yourself, trust your vision, and remind yourself that the project is always evolving.

###Share. Re-Do. Reflect.

##Share a Photo You're Happy With

• Select a Photo: Choose one photo you’ve taken since the start of this class that you’re particularly happy with.

• Write a Reflection: Comment on why you like this photo. Consider aspects such as composition, lighting, subject matter, or any specific techniques you used. What makes this photo stand out to you?

##Share a Photo You're Less Happy With and Re-Do It

• Select a Photo to Improve: Choose one photo you’re less happy with. Identify what specifically you’re not satisfied with. Is it the composition, lighting, focus, or something else?

• Re-Do the Photo: Take a new photo with the aim of improving on the original. Make the necessary changes to address the issues you identified.

• Write a Reflection: Comment on why you chose to re-do this photo and what changes you made. How do the improvements align with your initial critique?

##Comment on Your Progress Towards Your Goals

• Review Initial Goals: Reflect on the goals you set at the beginning of the class. Consider your progress towards these goals.

• Write a Reflection: Discuss your progress. Have you met your goals? Are you on track? What challenges have you faced, and how have you overcome them? What achievements are you proud of?

##Set New Goals or Re-Work Initial Goals

• Revisit Your Goals: Consider if your initial goals still align with your current aspirations. If needed, set new goals or re-work your existing ones to better fit your progress and interests.

• Write Your Goals: Clearly outline your goals for the remainder of the class. Break them down into actionable steps to ensure they are attainable.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG-Revisit Goals

^(The above photo was taken to demonstrate a self-goal of trying to find inspiration in places I've become numb to. By clearly outlining that goal, I was able to note my own biases in my photography and be aware of opportunities I would normally ignore. )

##Why We Made Goals

At the beginning of this course, we emphasized the importance of setting goals. These goals were not just arbitrary benchmarks but personalized targets to keep you motivated and focused throughout your learning journey. Goals help you clarify what you want to achieve, making your path clearer and more purposeful. By understanding why you joined this course and what you hope to gain from it, you can tailor your efforts to meet your individual needs and aspirations. This targeted approach enhances your learning experience and ensures that every lesson has personal significance.

##How to Analyze Your Progress

• Review Your Initial Goals: Look back at the goals you wrote in your learning journal. Reflect on why you set these goals and what they meant to you at the start.

• Evaluate Your Work: Go through the photographs you’ve taken since the beginning of the course. Compare them with the initial photo you were proud of. Look for improvements in technical skills, creativity, storytelling, and overall composition. Were you intentional in this first photo? Can you approach it more intentionally?

• Identify Milestones: Recognize any milestones or achievements you’ve reached. Have you mastered a particular technique? Have you received positive feedback on your work? Note these accomplishments.

• Seek Feedback: Engage with your peers and mentors to get constructive feedback on your work. An external perspective can highlight progress you might have overlooked. Check the discord for any upcoming feedback sessions.

• Reflect on Challenges: Acknowledge any challenges or setbacks you’ve encountered. Understanding these obstacles is crucial for growth and improvement. Why were you challenged? Do you have an idea how to overcome that challenge?

##How to Rework Your Goals (If Needed)

After analyzing your progress, you might find that some goals need adjustment. Here’s how to rework your goals effectively:

• Reassess Your Objectives: Reflect on whether your initial goals are still relevant. Have your interests or priorities shifted? It’s okay if they have. Adjust your goals to align with your current aspirations.

• Set New Milestones: Break down your revised goals into smaller, manageable milestones. This will make your objectives more attainable and keep you motivated.

• Adjust Your Approach: Consider new strategies or techniques to achieve your revised goals. Experiment with different styles, subjects, or equipment to reignite your creativity.

• Document Your Progress: Continue using your learning journal to track changes and improvements. Regularly documenting your journey helps you stay focused and see how far you’ve come.

• Stay Flexible: Understand that goals can evolve. Stay flexible and open to change as you grow and learn. The key is to keep moving forward, even if the direction shifts.

By revisiting and refining your goals, you ensure that your learning journey remains dynamic and aligned with your evolving aspirations. Remember, the process of setting, analyzing, and reworking goals is a continuous cycle that fosters growth and creativity.

##Next Steps

• Revisit Your Learning Journal: Spend some time reviewing your initial goals and the progress you’ve documented so far.

• Reflect and Write: Reflect on your achievements and challenges, and write down any thoughts or insights. Consider how your goals might need to change.

• Set New Goals: If necessary, set new or revised goals. Break them down into actionable steps and start implementing them in your next photography projects.

As we go into our summer break, we will start brainstorming and outlining our personal project. Use this week as a launching off point to consider what you may want to explore. Think about what you enjoyed thus far, what challenged you, and what you want to do more of. Remember that you are not alone in this project - leverage the community inherent in the course. We’re all here to help each other!

#Give Feedback. Make one photo.

Utalizing the community we have, give feedback on a peer’s submission. The photo can be from any week, but remember to keep the feedback in context of the lesson - meaning, if you’re critiquing a photo from Lesson One, keep in mind that that is the very beginning of the learning process, versus say Lesson 18.

After giving the feedback, consider how your critique would help you in your own photos. Was there something that you noted in your peer’s photo that you would benefit from remembering in your own work? Use that as a launching off point to create a photo for this week. The subject and genre and completely up to you. You have full creative freedom this week.

Include a write up about how you approached giving the feedback, what you took away from it, and how you implemented that into your own photo.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG - Giving Feedback

^(This weeek you'll be asked to give feedback to a peer. The above photo is available to you to critique if you would prefer, though I would encourage you to seek out an image of another classmate.)

##Giving Effective Feedback

Critiquing a photograph involves navigating various attitudes, from constructive feedback to outright criticism, often amplified by the anonymity of online platforms. To critique effectively, one must separate artistic vision from technical ability, recognizing that creative ideas may surpass current technical skills. Critiques should focus on objective qualities rather than personal opinions, framing preferences as preferences and critiquing based on factual elements. Remember: taste is subjective, art is subjective, separate your own subjective tastes from your critique.

##Introduction to Critiquing

Critiquing photography encompasses a spectrum of attitudes ranging from genuine appreciation and constructive criticism to mere commenting or even complaining. Some approach critique as a platform for deep analysis and postulation, while others use it as an avenue to pontificate their views. However, online critique communities pose unique challenges due to the cloak of anonymity they provide. This anonymity often leads to heightened levels of arrogance and vitriol, where individuals feel emboldened to express their opinions more harshly than they might in face-to-face interactions. The lack of accountability in these virtual spaces can sometimes detract from the constructive nature of critiques, turning them into platforms for personal attacks or unwarranted negativity. Balancing these diverse attitudes and navigating the complexities of online critique communities are key aspects of engaging in meaningful and productive critiques in photography.

One of the benefits of the community we’ve built is that we have an idea of each other’s photographic idioms and styles. We’ve also shared our goals with one another. This supportive community has set us up with a feedback culture based in support and encouragement, as well as an understanding that any critique comes from a place of a shared desire to grow and improve.

##Separating Artistic Vision from Technical Ability

When critiquing a photograph, it's crucial to distinguish between the artistic vision driving the image and the technical skills used to execute it. This separation allows for a more nuanced and comprehensive critique. Artistic vision encompasses the creative ideas, storytelling, composition, and emotional impact of the photograph. It's about the message the photographer wants to convey and the unique perspective they bring to the scene. On the other hand, technical ability refers to the proficiency in handling equipment, controlling exposure, focusing accurately, and post-processing techniques. While technical aspects contribute to the overall quality of an image, they should not overshadow or dismiss the artistic intent behind it.

By critiquing these aspects separately, one can appreciate the creativity and originality of the photographer's vision while also providing constructive feedback on technical improvements. For example, a photograph may have a compelling concept and composition but suffer from technical issues like incorrect exposure or focus. In such cases, the critique can acknowledge the strength of the artistic vision while offering suggestions or insights on how to enhance the technical execution. Conversely, a technically flawless image may lack artistic depth or fail to evoke emotion, highlighting the importance of balancing both artistic vision and technical proficiency in a critique.

##Objective Critiques vs. Personal Opinions

Objective critiques differ from personal opinions by emphasizing factual and objective characteristics rather than subjective preferences. When critiquing a photograph, it's important to highlight elements that can be objectively evaluated, such as composition, lighting, exposure, and technical execution.

For instance, commenting on how well the photographer balanced the exposure in a high-contrast scene or how effectively they used leading lines to guide the viewer's eye provides actionable feedback based on observable elements.

On the other hand, personal preferences, such as liking or disliking a particular color scheme or style, should be expressed as subjective opinions rather than critiques. This distinction helps maintain a constructive approach to critiquing, focusing on aspects that can lead to improvement rather than subjective tastes that may vary from person to person. By grounding critiques in objective observations, photographers can receive valuable insights into areas where they can refine their skills and enhance the impact of their work.

##Purposeful Critique

A purposeful critique is not merely pointing out flaws or strengths in a photograph; it's about providing actionable feedback that fosters improvement. This means going beyond surface-level observations and delving into specific aspects that can be enhanced. Instead of offering vague or generalized criticism, a purposeful critique includes clear suggestions for how the photographer can elevate their work. Instead of just saying a photo lacks impact, the critique might suggest experimenting with different compositions or lighting techniques to create a stronger visual impact. By avoiding blanket criticism without justification, the focus remains on constructive guidance that empowers photographers to refine their skills and evolve creatively.

##Tailoring Critiques to the Audience

Tailoring critiques to the audience involves a thoughtful approach that considers the photographer's skill level and experience. Before offering feedback, it's essential to assess where the photographer stands in their journey. For beginners, focusing on fundamental concepts such as composition, exposure, and basic editing techniques is paramount. Providing clear explanations and actionable suggestions tailored to their level of understanding can significantly impact their growth.

As photographers advance in skill and knowledge, critiques can delve into more nuanced aspects like storytelling, mood creation, and advanced editing techniques. However, even with experienced photographers, it's crucial to gauge their familiarity with specific techniques or genres before diving into intricate details. By tailoring critiques to the audience's proficiency, you not only provide relevant and meaningful guidance but also foster a supportive learning environment that encourages continuous improvement.

##Maintaining Focus on the Photographer's Work

Maintaining focus on the photographer's work is crucial in offering constructive critiques. It's important to avoid turning critiques into platforms for showcasing personal knowledge or promoting oneself. The essence of a critique lies in providing valuable feedback that helps the photographer improve their skills and artistic vision.

By keeping the focus on the photographer's work, the critique becomes a genuine effort to assist and guide, rather than a means for the critic to assert their expertise or gain attention. This approach fosters a supportive environment where photographers feel encouraged to share their work and receive meaningful insights for growth. It also reinforces the idea that critiques are not about the critic but about contributing positively to the development of fellow photographers within the community.

##Understanding Context and Environment

When critiquing a photograph, understanding the context and environment is crucial for providing a comprehensive assessment. Context encompasses the setting, purpose, and conditions in which the photograph was taken. A photo taken at a wedding may have different expectations and challenges compared to a studio portrait or a landscape shot. Acknowledging these differences allows for a more nuanced critique that considers the photographer's intent and the specific demands of the situation.

Recognizing variables beyond the photographer's control is important in fair and constructive feedback. Lighting conditions, weather, or the dynamics of a live event can significantly impact the final image. A photographer may have to work with low light at an indoor event or deal with sudden changes in weather during an outdoor shoot. Acknowledging these challenges helps in evaluating the photographer's adaptability and problem-solving skills.

By taking into account the context and environmental factors, critiques can offer insights into how well the photographer navigated these constraints and whether they effectively utilized available resources. It also encourages a more empathetic approach, understanding that not every aspect of a photograph may be under the photographer's direct control. This holistic assessment contributes to a richer critique that considers the complete picture, both literally and figuratively, leading to more meaningful feedback and opportunities for growth.

##Politeness and Respect

When offering feedback, it's essential to maintain a polite and considerate tone, recognizing the effort and vulnerability involved in sharing one's work. Acknowledging the photographer's courage in putting their creative vision out for critique fosters a positive and constructive atmosphere.

Even in instances where critiques may point out areas for improvement or highlight shortcomings, doing so with politeness and respect can make a significant difference in how the feedback is received. Being mindful of the language used and the tone conveyed can ensure that the critique is received as a helpful contribution to growth rather than a discouraging critique of the photographer's skills or vision. This approach not only benefits the recipient of the critique by encouraging further engagement and learning but also contributes to a supportive and encouraging community within the photography realm.

##Depth and Understanding in Critiques

In the realm of critique, taking the time to truly study the photograph before offering feedback is important in understanding the nuances and intentions behind the image. By considering the image as a whole, and noting details, you can uncover hidden layers of meaning, technical ability, and artistic expression that may not be immediately apparent. This depth of understanding allows for a more insightful and meaningful critique that goes beyond surface-level observations.

Engaging in conversations with the photographer adds another dimension to the critique process. By discussing the photograph with its creator, you gain invaluable insights into the thought processes, inspirations, and goals that shaped the image. This dialogue fosters a deeper connection between critic and artist, leading to a more nuanced critique that takes into account the context and intentions behind the work. Understanding the photographer's intentions helps align feedback with their creative vision, ensuring that the critique is not only constructive but also respectful of the artistic journey undertaken.

Depth and understanding in critiques elevate the feedback process from mere observation to meaningful dialogue and exploration. It encourages critics to approach each photograph with curiosity, empathy, and a genuine desire to comprehend and appreciate the complexities of the artistic endeavor.

##Balanced Critiques

Balanced critiques play a pivotal role in constructive feedback, emphasizing the importance of avoiding extremes in positivity or negativity. Overly positive critiques, while encouraging, may lack depth and overlook areas for improvement, leading to complacency rather than growth. Conversely, excessively negative critiques can be demoralizing and discouraging, hindering the photographer's motivation to improve. Trusting intuition in critiques involves relying on one's understanding of photography principles and artistic sensibilities, steering clear of biases that may skew the feedback.

##Impact of Proper Critiques

When critiques are thorough and constructive, they provide valuable insights that can significantly enhance a photographer's skills and understanding of their craft. By focusing on the technical and artistic aspects of a photograph, you not only help the photographer improve their work but also contribute to the collective knowledge base of the community.

Full and deep critiques benefit both the critic and the photographer. For the critic, engaging in detailed analyses sharpens their own skills of observation, analysis, and communication. It encourages a deeper understanding of photography principles and techniques, honing their ability to provide meaningful feedback. This process of critiquing also encourages critics to examine their own work more critically, leading to personal growth and improvement in their photography.

For the photographer receiving the critique, the impact is multifaceted. Beyond specific suggestions for improvement, a thorough critique offers a broader perspective on their work, helping them refine their artistic vision and technical execution. Constructive feedback instills confidence and motivation to explore new ideas and techniques, contributing to their growth as a photographer. Being part of a community that values and engages in thoughtful critiques fosters a sense of belonging and collaboration, enriching the overall experience of learning and improving.

##Seek out feedback. Make one photo.

Ask a peer, mentor, teacher for feedback on any image you’ve taken. Using that feedback, make a photo that addresses the constructive criticism and the positive feedback. Include a short write-up about how you requested feedback, what feedback you received, and how you implemented the feedback into your final image.

We are having a Feedback Session on the discord on May 2, 2024 at 7pm UTC. Feel free to come and share the photo you’d like feedback on to complete this assignment.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG - Feedback

^(This week is all about receiving feedback. In order to get your self in the mindset of feedback, look at the above image and think about what feedback you would give for it. Feel free to write those thoughts in the comments.)

#The Importance of Feedback

As photographers, we understand the paramount importance of feedback in honing our craft. Feedback comes in various forms, including constructive criticism, peer review, client input, and self-assessment. Each type offers unique insights that contribute to our growth and development.

#Types of Feedback

##Constructive Criticism

As photographers, constructive criticism is like getting helpful advice on how to make your pictures even better. It's not about saying what's wrong, but about pointing out things that could be improved while also acknowledging what's already great. Imagine you're playing a game, and someone tells you a trick to score more points without making you feel bad about your current score. When receiving constructive criticism, it is important to remind yourself that it is not a personal slight, but a tool to help you improve your work. It is equally important to trust your own eye and intent. Receive the feedback, and analyze it objectively to determine whether it helps enhance your overall vision.

##Peer Review

Peer review is like when your photography friends look at your pictures and tell you what they think. They look at your photos carefully, say what they like about them, and also share ideas on how you could make them even better. It's like having a little group of supportive critics who want to help you improve your photography skills. When using peer review, remember that the feedback is coming from other photographers, and thereby may have some photographer biases. All too often you see strict adherence to “rules” as a means of feedback in photography circles. As we talked about in previous lessons, these guidelines are just tools in your toolbox and there are plenty of reasons to ignore or intentionally disregard them. As always, it’s important to gauge the feedback against your artistic intent. It is also helpful to seek out feedback from non-photographers/visual artists who are relying strictly on their gut. Getting a fresh perspective from those undeterred by “rules” will open our own eyes to things we may have completely overlooked.

##Client Input

For those working with clients (paid or not), getting client input is an inevitability, and extremely helpful. Think of client input like getting advice from a trusted friend about what they like and don't like in your photos. Clients are the people you're creating pictures for, so their opinions help you understand what makes them happy with your work. It's like having a secret code to make photos that they'll love. Their input guides you to capture their vision and make sure they're thrilled with the final results. It also gives you an opportunity to stretch yourself creatively and technically to meet the client’s expectations and requests.

##Self-Assessment

Self-assessment is like looking at your own photos with a magnifying glass. It's when you take a step back and honestly evaluate your work, just like how you listen to feedback from others. Imagine you're both the photographer and the critic at the same time. You look at your photos and think about what you did well, like capturing a beautiful moment or using light in a creative way. Then, you also think about what you could improve, such as focusing better or trying new angles. Self-assessment is all about being your own coach, cheering for your successes and figuring out ways to get even better. A good practice is to self-assess after stepping away from the image for at least a day and coming back with fresh eyes - this is especially helpful when unsure of your post-processing.

#Receiving Feedback Effectively

Receiving feedback effectively is a skill that every photographer must cultivate to progress in their craft. Active listening techniques play a crucial role in this process, requiring us to truly focus on and absorb the feedback being given without letting distractions or biases interfere. Managing emotions and ego is equally important; staying open-minded and receptive to criticism, even when it's difficult, allows us to extract valuable insights that can significantly improve our work.

Asking clarifying questions demonstrates our commitment to understanding the feedback fully, ensuring that we don't misinterpret or overlook important details. For example if someone says “the crop doesn’t work for me,” extract more by asking “what exactly doesn’t work? Is it too cramped, too unbalanced, too much negative space?” Clarifying and open-ended questions will create a dialog that will amount to more understanding of what works and what doesn’t.

Additionally, recognizing the value in diverse perspectives strengthens the learning experience, as feedback from different sources provide a well-rounded view of our photography, highlighting aspects we may not have considered otherwise. Overall, mastering the art of receiving feedback effectively empowers us to grow and evolve as photographers, continually pushing the boundaries of our creativity and technical skill.

##Processing Critique

Analyzing feedback is a critical skill that we must master to continually improve our work. This process involves identifying both strengths and areas for improvement within the feedback received. By acknowledging our strengths, we can build upon what we do well and leverage these aspects in future photographs. Simultaneously, recognizing areas for improvement allows us to pinpoint specific areas of our work that require attention and development.

Another essential aspect of analyzing feedback is identifying recurring themes. Patterns and consistent feedback themes offer valuable insights into aspects of our photography that may need more focus or refinement. Whether it's composition, lighting, storytelling, or technical skills, recognizing these recurring themes helps us prioritize where to direct our efforts for improvement effectively.

Setting realistic goals based on feedback is the final step in this analytical process. Feedback provides us with a roadmap for growth, and setting achievable goals aligned with this feedback is crucial for progress. These goals could range from mastering a new photography technique to refining our post-processing skills or even exploring different genres. Realistic goals based on feedback encourage us to take actionable steps towards becoming better photographers.

##Applying Feedback

Applying feedback involves more than just understanding the feedback; it requires us to take actionable steps towards improvement. One crucial aspect is implementing changes in our photography practice based on the feedback received. This could mean adjusting our composition, refining our lighting techniques, or experimenting with different post-processing styles.

Applying feedback encourages us to step out of our comfort zones and experiment with new techniques and approaches. When receiving feedback, we will hear ideas which did not occur to us and force us to view our own work differently - thereby encouraging us to try new techniques. This experimentation not only keeps our work fresh and innovative but also allows us to discover what resonates most with our artistic vision.

Seeking follow-up feedback is equally essential in the application process. It enables us to track our progress and assess how effectively we've incorporated the initial feedback into our work. Regular feedback loops provide valuable insights into our growth trajectory, highlighting areas of improvement and affirming our strengths.

Applying feedback is a continuous cycle of learning, adapting, and refining our craft. It is a never-ending process, and should be practiced regularly over the course of your photography life.

##Cultivating a Feedback Culture

Cultivating a feedback culture within our photography community is essential for our collective growth and improvement. One aspect of this culture involves giving constructive feedback to our peers. This means offering insightful observations about their work, highlighting areas of strength, and suggesting areas for improvement in a constructive and respectful manner. By doing so, we contribute to each other's development and foster an atmosphere of trust and mutual support.

Creating a supportive and collaborative environment is another key element of our feedback culture. We strive to build a community where photographers feel encouraged to share their work, ideas, and challenges openly. This environment encourages collaboration, knowledge sharing, and creative exploration, benefiting everyone involved. It also promotes a sense of camaraderie and belonging, making our photography journey more fulfilling and enjoyable.

Embracing feedback as a continuous learning process is fundamental to our growth as photographers. We understand that feedback is not just about pointing out flaws; it's about learning and evolving. By embracing feedback with an open mind and a willingness to improve, we stay adaptable and resilient in our craft. This mindset allows us to turn feedback into actionable insights that propel us forward on our photography journey, constantly refining our skills and artistic vision.

##Make One Photo

Choose one of the following and create a photo inspired by it:

• What are you reading? Whether a novel or the news, what we read affects how we interact with our day to day. Maybe you’re feeling frustrated and saddened by world events, or are reading a bright and bubbly beach book. Show us those emotions in your photography.

• What are you watching? The cinematography of film and television can be inspiring on their own, and themes in storytelling can spark something.

• What are you listening to? Music evokes such personal thoughts and emotions in us - find a way to translate those visually.

Your photo can be in any genre, of any subject, and presented in any way which you see fit. With it, include a write up of what you were inspired by and how you translated that in your photo.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG - Inspiration

^(Inspiration for this photo came from Terry Gilliam’s 'Brazil.')

###Finding Inspiration

Inspiration can come from any source. We tend to zero in on inspiration from our own medium, but that can be limiting, and has the potential to lead to recreation as opposed to inspiration. For this lesson, we’re going to ask you to search for inspiration outside of photography. To get started, ask yourself some questions:

• What am I passionate about?

• What brings me joy?

• What challenges my way of thinking?

• How can I explore something outside of my comfort zone?

• Where do I want to go from here?

##Passion and Joy

Reflect on activities, hobbies, or causes that ignite a sense of passion and joy within you. Consider how these passions can be translated into visual storytelling or thematic concepts in your photography. Explore themes such as adventure, love, sustainability, creativity, or cultural diversity inspired by your passions.

##Challenging Perspectives

Identify topics, experiences, or conversations that challenge your way of thinking or provoke introspection. Use photography as a tool to explore these complex ideas, emotions, or social issues visually. Experiment with conceptual photography, symbolism, or metaphorical imagery to convey layers of meaning.

##Embracing Diversity in Your Work

Embrace diversity in all its forms—cultural, social, natural, and human diversity. Seek inspiration from diverse cultures, traditions, landscapes, and perspectives to enrich your photographic storytelling. By exploring ideas outside your norm, you’ll be forced to engage in other perspectives which will spark supporting our counter-views. Use your photography as an outlet to those thoughts.

##Personal Growth and Reflection

Engage in self-reflection and introspection to uncover personal growth, struggles, triumphs, or transformative experiences. Use photography as a tool for self-expression, healing, empowerment, or storytelling related to your personal journey. Capture moments of vulnerability, resilience, authenticity, and self-discovery to create evocative and meaningful photographic narratives.

###Artistic Cross-Pollination

Now that you have started to think about what inspires you, and how to incorporate it into your own work, it’s time to search out other media to challenge your ideas. Depending on what you are focusing on, different media will support you - traditional media, for example, is an excellent way to study composition and color theory. If you’re a sports photographer, study human movement through dance. A landscape photographer can find inspiration in descriptive writings.

Listening to music while on the streets can set the mood and allow you to notice scenes you may have otherwise missed.

It’s easy to be told to “go be inspired!” and then scour instagram for cool photos. We’re asking you to challenge yourself a little more. Find inspiration outside what the algorithms put in front of you.

##Analyze and Make a Photo

Choose a photo from our previous lessons and analyze its composition, lighting, colors, and storytelling. Note what works and what could be improved, and reflect on whether your initial intention was achieved.

After analyzing the photo, your second task is to take a new photo inspired by the insights gained from your analysis. Apply what you've learned to create a new image that addresses the notes you made about the previous photo. This will help you put your observations into practice and further develop your skills as a photographer.

When posting your photo, include a write-up about your process and findings in analyzing your previous photo.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG - Break the Rules

^(How does this image fall into the guidelines we discussed in previous lessons? How does it break them?)

##Reevaluate your Knowledge

This week’s lesson will be the shortest thus far, but it drives home an important point. We spent the past few weeks learning about the fundamentals of composition, color, and storytelling. I want you to approach these as tools in your toolbox so that when you’re out making photos, you can fall back on them for guidance and assistance. The guidelines are important and are rooted in the principles of art. Don’t disregard them and don’t feel like they can’t be learned. All too often people talk about “talent” and “having a good eye,” but I prefer the term “skilled.” You can train your eye. You can learn art. Some may have inherent predilections towards art, but these skills can be obtained and can be improved upon.

Before getting into the idea of breaking these rules, we’re going to ask that you go back to the previous lessons and re-read them, making sure that you have a good handle on the content. If you have any questions, ask them in the sub or discord. This is your opportunity to take a beat on the learning and let everything resonate.

##Break the Rules

Having a good handle on the tools in your toolbox is a great skill, especially when it comes to photography. Now that you’ve absorbed the fundamentals, it’s time to explore the concept of breaking the rules. Breaking the rules in photography doesn’t mean disregarding everything you’ve learned; rather, it’s about understanding why and when to break them for creative effect.

One of the fundamental rules in photography is the rule of thirds, which suggests placing the main subject off-center for a more balanced composition. However, breaking this rule can create dynamic and engaging photos. For example, placing the subject dead center can create a bold and symmetrical image, drawing attention directly to the subject.

Similarly, the rule of leading lines advises using lines within the scene to lead the viewer's eye towards the subject. Breaking this rule can involve intentionally using conflicting lines or patterns to create tension or ambiguity, adding a layer of intrigue to your photos.

Color theory is another area where breaking the rules can lead to interesting results. While complementary colors typically create harmony, using contrasting colors can create a sense of vibrancy and energy in your photos.

Storytelling through photography often involves capturing decisive moments, but breaking the rules of timing can also be powerful. Experimenting with long exposures or capturing unexpected moments can add depth and emotion to your storytelling.

Remember, breaking the rules should be a deliberate choice based on your creative vision, not just a random deviation. It’s about understanding the principles and then using that understanding to push the boundaries and create compelling photographs. So, as you continue to refine your skills, don’t be afraid to break the rules and discover your unique style and voice in photography.

##Read and Understand Your Photos

Once you’ve experimented with breaking the rules and capturing photos that challenge traditional norms, it’s crucial to develop the skill of reading and understanding your photos. This goes beyond just looking at an image and appreciating its visual appeal; it involves analyzing the elements within the photo and understanding how they contribute to the overall message or mood.

Start by taking a critical look at your photos. Ask yourself what story each photo is telling. Consider the composition, lighting, colors, and subjects within the frame. Are these elements working together harmoniously, or is there a deliberate tension or contrast that adds depth to the narrative?

Next, think about the emotions or reactions you want your photos to evoke. Are they conveying a sense of joy, sadness, excitement, or contemplation? Pay attention to the expressions of your subjects, the use of light and shadow, and the overall atmosphere of the scene.

Another aspect to consider is the technical aspects of your photos. Are they sharp and well-exposed, or do they have intentional blurriness or exposure quirks that enhance the mood? Understanding how different technical choices impact the final result can help you refine your photographic style.

Don’t forget to seek feedback from others, whether it’s here in the community, or friends and family. Share your photos and ask for constructive criticism. Be open to different perspectives and use feedback as a learning opportunity to improve your skills. In our last voice chat we spoke about having someone in your lives to request feedback from - not even necessarily another photographer. The untrained eye may have just as valuable viewpoints as fellow artists.

Lastly, keep a journal or digital catalog where you document your thoughts and insights about each photo. Take down what worked well, what could be improved, and any lessons learned during the process. This reflective practice will not only help you grow as a photographer but also deepen your connection to your work. Your Learning Journals is a great place for this, or even just a note on your phone. Putting your thoughts to paper helps you to think critically and articulate your reactions to your own work.

When looking at your photos, take note of how your eye moves across the photo. Is it being pulled toward your intended subject, or something else? Does your eye move in a pleasing way, or is it jetting back and forth like a long tennis volley? If your eye is not going the way you intended when you made the photo, figure out why and how you can re-approach the scene (or post process) to achieve the intended effect.

By developing the ability to read and understand your photos, you’ll become more intentional and purposeful in your photographic endeavors. Each photo will carry a story, a message, or an emotion that resonates with viewers, creating a lasting impact beyond just a visually pleasing image.

##A Day in the Life

Choose one day this week to document fully - from the moment you awake, until right before falling asleep.

• Aim to take one photo an hour, at the least. If you’re documenting a day where you’re sitting at your work desk for 8 hours, for instance, try to find new viewpoints for each photo (close-ups of your keyboard, mug, wide shots of your set-up, etc).

• Cull those photos down to no more than 10 photos that sum up your day.

• Cull further to three shots: an establishing, a context, and an environmental shot.

• Choose one which will be your hero image, fully encapsulating your day.

• Post the three shots, and indicate which is your hero image. If one of the three isn’t your hero image (though, it most likely will be), post that shot along with the other 3.

Include a short write up about the process, specifically how you approached the three shots and why you chose the image you did for your hero shot.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG - Visual Narrative

^(Chelsea London © 2017 | Fujifilm X-T10 | 56.0mm | ƒ/3.6 | 1/60s | ISO 800)

#What is Visual Narrative?

While not all photography aims to tell a story, visual narrative finds a home in many different types of photography. So, what is visual storytelling, and how can we incorporate it into our own work? For this lesson, we will look at photography through other media, and analyze how a single image can create a story. We’re also going to look at photographing with the intent of telling a story through a series of images using three common shots often found in film and television.

To start this off, it’s important to recognize that photography is one of many visual media. Traditional media and modern media are all derived from the same theories. This means that we can look at traditional media and photography through the same lens, which allows for inspiration outside one’s own medium, and exploration of art on a more holistic level.

The simple question of ‘what is it, even?’ still remains. The main thing to remember is to show not tell. As mentioned, storytelling can happen in a single image, or in the form of a photo essay.

IMG - What is the visual narrative of this image?

#Mise-en-scène

For those like myself who went to film school, the phrase mise-en-scène is one which is burned into your brains. It often is presented in a convoluted way, creating an overinflated sense of complication. We’re not going to play that game. Simply, mise-en-scène is a just fancy (coughpretnetiouscough) way of saying everything that is visible in a frame. In French it means “putting in the scene.” If you’ve watched The Bear, Burnt, The Menu, or any of my other favorite chef-focused movies/shows, you may have heard the term “mise-en-place,” which means “put in place” and is used to express the organization of ingredients and tools before cooking. The idea with a photo (or film set) is the same. We want all our ingredients in place in order to tell the story.

We can break mise-en-scène down into five categories. Side note: one of these has been altered from their film counterpart to better-fit photography.

1. Setting

2. Decor

3. Lighting

4. Depth of Space

5. Personal Style/Aesthetics

IMG - Setting

^(What is the setting here? What clues in the image help you to understand the setting?)

##Setting

In photography, "setting" refers to the environment or background in which a photo is taken. It includes everything that surrounds the main subject of the photo. For example, if you're taking a picture of a flower, the setting would include the garden or the landscape around the flower. A photo taken in a bustling city street will have a different setting than one taken in a serene natural landscape, and this difference will evoke different narratives for the viewer. Setting can refer to locale, but also time of day, month, year, et cetera.

The above image has some clues as to where and when the photo was taken. Look carefully at all the present elements, and try and figure out what the setting is.

Once you’ve made your own guesses, read the below explanation and compare it to the below description. (Click to reveal the spoiler text.)

!The image above has some clear setting cues. One, it's on a river. Two, the Charles Bridge and the church on the hill is are known iconic images of Prague. Additionally, the trees are green and lush, and the overall imagery shows a summer scene.!<

IMG - Decor

^(What decor is present here? How do they help you to understand the image's story?)

##Decor

Decor refers to the visual elements within the scene that contribute to the overall aesthetic and atmosphere of the image, and helps to make the story more clear to the viewer. This includes background elements such as furniture, objects, textures, and colors that are intentionally arranged or chosen to complement the subject of the photograph. For example, in a portrait, the decor might include a carefully selected backdrop, props, or furniture that enhance the mood or tell a story about the person being photographed.

Look at the decor in the above image. What does it tell you about the story of the image. Think about: where is it? When is it? What is happening?

Once you’ve made your own guesses, read the below explanation and compare it to the below description:

!Taken during early COVID at a grocery store in the Czech Republic. Clues include: the conveyer belt and food (grocery store), text in the posters (Czech language), COVID (face masks and gloves on the attendant).!<

IMG - Lighting

^(How does the lighting in this image effect its overall perception or feeling?)

##Lighting

Just as a storyteller uses words to set the scene and convey emotions, lighting in photography helps tell a story by highlighting certain elements, creating shadows for depth, or evoking a particular feeling. For instance, imagine a photo of a dark alleyway with a single streetlight casting a mysterious glow. The lighting sets a mood of suspense or intrigue, suggesting a story of a late-night adventure or a secret meeting. Similarly, in a bright, well-lit portrait, the lighting might convey a sense of happiness, warmth, or positivity, telling the viewer something about the subject's personality or the mood of the moment.

Look at the lighting in the above image. What does it tell you about the story of the image. Think about: how does it effect the atmosphere or overall feeling of the story?

Once you’ve made your own guesses, read the below explanation and compare it to the below description:

!The warm harsh light coming from the right of the frame elicits a feeling of a warm (or hot) summer day. The position of the sun lets us know that it was taken in the later afternoon. Compare this to the same scene taken midday or in the morning? How would the lighting change and how would that change the overall feeling of the image?!<

IMG - Depth of Space

^(Study the layering in this image. How does it make you, the viewer, interpret the scene?)

##Depth of Space

When framing your scene, consider how the end-viewer will see it - what are you including that is important, and what are you excluding? A key element to immersing a viewer in your image is to show them how you are seeing things. Building depth is an enormously powerful tool when trying to immerse a viewer. In film, a common tactic is known as ‘over the shoulder’ shots.

In OTS shots, the camera is placed in a way where the viewer is literally looking past one figure in order to focus in on the main figure. You see this a lot in conversations. Showing both people in the conversation lets the viewer know that the speaker isn’t alone. By getting in close, you’re making the viewer feel like they are right there, practically in the conversation themselves. Layering elements gives the viewer the feeling of involvement, making your story easier to consume.

Look at the lighting in the above image. Focus on the framing of the entire scene, including the figures. Try and imagine where the camera is placed, and what effect this has on the overall story.

Once you’ve made your own guesses, read the below explanation and compare it to the below description:

!Taken as an over the shoulder shot, this image puts the viewer close in the scene to elicit a feeling of actually being there. Had the image been taken from farther away, the point of view would be more of one from a passing viewer, not someone involved in the scene. The layering elements also make the market seem busy, crowded, and vast. From further away, the market may be more bare.!<

IMG - Personal Style

^(How do you find your own voice?)

##Personal Style and Aesthetics

Talking about personal style gets intimidating very quickly, especially when you’re on the imposter syndrome side of the spectrum. Two things I want to hit home here: 1. personal style evolves, and 2. the personal style in an image may not be your own, but your subject’s.

The first is that personal style is not static, nor is it based in subject, color grading, or any post processing. Personal style comes with time, and is ever evolving. Think about Van Gogh for a moment. His earlier work and later work are wildly different, but there are some common elements which you can see progress through his body of work that makes them distinctly his.

IMG - Early Van Gogh

^(Rooftops, View from the Atelier The Hague (1882), watercolor, Private collection.)

IMG - Later Van Gogh

^(Thatched Cottages and Houses (1890))

What similarities can you see in this early work to the later one? Look at all his works in succession, do you see an evolution?

(For those interested, you can read more about Van Gogh’s evolution here on My Modern Met.)

Same goes for someone like Mark Rothko whose earlier works seem entirely unrelated to his later. But, look at these two images side by side, are there any commonalities? I’d argue that his evolution to large-scale color blocking/gradations was already apparent. Look at the lines and of the subway staircase and poles, notice how they’re similar to the lines in the later work.

IMG - Early Rothko

^(Entrance to Subway (1938))

IMG - Late Rothko

^(Untitled (1952))

Have a look at Rothko's evolution.

When analyzing your own work, think about how you approach your images - is there a common technique you use often? Maybe you prefer to work under specific lighting conditions? For me, I know I lean heavily on strong foreground elements, usually out of focus. When looking at my photos as a ‘body of work,’ that obsession becomes quite apparent.

Whether you’re keen on art history or not, the point is just: don’t be discouraged by the idea that you need to have your personal style nailed down. It will continue to evolve naturally. If you’re very concerned about being able to identify a personal style now, just ask yourself about your process and final images. Where are the similarities?

Circling back to point two, personal style in terms of mise-en-scène may not be exclusively yours. If you’re working with a portrait subject, you also want to showcase their personal style. Pay attention to their styling, how they carry themselves, and what they are trying to evoke and incorporate your own skills and style to accentuate who they are. We’ll look more at this in terms specific to portraiture later on in the course.

#Study the Masters

IMG - Study the masters

^(The meaning of Night Watch is still debated to this day.)

##Reading Photos

Let’s look at some images from artists renowned in their chosen medium. I want you to analyze each image as a standalone story. Try and read the setting, decor, lighting, and space to determine what is happening in the image. For some of these, you may already have some background information on them. If that’s the case, notice the elements on mise-en-scène and how they affirm what you already know about the story being told.

How to interact with this section:

• Study the image through the lens of mise-en-scène

• Identify what the story is, and what clues in the image brought you there

• Think about the leading questions presented to guide your thinking

• Click on the spoiler tagged text to compare your interpretation with the explanation

IMG - Image One

!Josef Koudelka - 1968 Warsaw Pact Invasion. Taken the minute the Russians invaded Prague, Koudelka marks the moment with his watch. The scene is over the famed Václavské náměstí. Some clues from the setting are the recognizable museum in the background, and older cars. Decor like Koudelka’s watch help us to have sense of the time. If you’re not familiar with Prague, specifically, you can still use the architecture to try and narrow down the location, or part of the world. Read more about this image, and see the entire set here on Magnum Photos.!<

IMG - Image Two

!Dorethea Lange - Migrant Mother (1936). Between the pained expression of the mother, the tattered clothing, and the haphazard haircuts, you can ascertain that these people are in a dire situation. Look closer, and you’ll notice they are seated beneath canvas, and not in a brick or wooden home. With some historical knowledge you can guess that the photo was probably taken during a difficult time in history, more specifically the Great Depression in the United States. Read more about this image.!<

IMG - Image Three

!Vivian Maier - December 21, 1961. Chicago, IL. The decor and clothing do a lot of the heavy lifting here, as far as clues of story go. Looking at the clothing, we can guess this is sometime in the mid-century. The police uniforms say city of Chicago on them. The people on line are carrying packages and are bundled up, making it a safe guess that it’s sometime around Christmas time. The person on the ground is surrounded by onlookers and police, but there’s no single person who seems completely devastated by their fall, leading us to think maybe they were in this place alone. More of Vivian Maier can be seen here.!<

IMG - Image Four

!Jacques-Louis David - The Death of Marat (1793). This oil painting tells the story of the assassination of Jean-Paul Marat, a radical activist of the French Revolution. Britannica can do a better job than myself explaining the history, so head over there and read about the painting and compare it to your interpretation.!<

IMG - Image Five

!Wes Anderson - The Darjeeling Limited (2007). There’s a lot happening in this still from (one of my favorite movies) The Darjeeling Limited. Let’s start with the setting - where are they? Looking at the ‘room’ you’ll see metal paneling, and bars on a tiny window. There’s also a small call box. We can assume this is a train from these clues. The orange colors, tiger, bindis on the men, and framed photo lead us to India. Going off India, we can say the men are tourists. Their dress is quite formal for the setting, and give us some ideas of their social status. Now look at their proximity to each other. They’re sitting right on top of each other, which alludes to a closeness or familiarity. But, their expressions are that of discontent leading us to believe that they may know each other well, but maybe are unhappy with their situation. I’ll say no more on the matter as you should just watch the movie, and I don’t want to give any more away.!<

#Photo Essays

IMG - Storytelling

^(How does this image inform a greater story?)

##Three Storytelling Shots

Keeping with the theme of film school (srynotsry), let’s look at some tools you have to create a photo story using multiple images. In film there are three types of shots which are used to fully tell a story:

• Establishing

• Context

• Environmental

When putting these three types of shots together, you are able to give the viewer a full picture of the story. So what are they and how do we use them?

###Establishing Shots

Establishing shots do exactly that: give you the big picture of what the story will be about. You can equate these to an introduction paragraph in an essay. “Here we are going to tell you a story about my trip to Los Angeles - see that Hollywood sign? Now you know.” Imagine the opening scene of a film, let’s say set in New York. The establishing shot will be one of those helicopter/drone sweeps across the cityscape. It’ll show you the Chrysler Building or Empire State Building, maybe the Statue of Liberty. The shot is just trying to make it abundantly clear that the film is set in NY, and it’s using recognizable elements of NY to do that.

###Context Shots

These shots give more information about the surroundings or the situation. Going back to that opening scene in New York - the sweeping helicopter shot cuts to a woman walking down a crowded street in Midtown Manhattan. We see people in business suits rushing by, tourists stopping in the middle of the sidewalk, locals getting annoyed by tourists stopping in the middle of the sidewalk, etc. The camera focuses in on that woman walking as she passes all of that in her fashionable outfit and carrying a garment bag. So now we know this NY movie is most likely about that woman in Manhattan and not an old man in Coney Island. We have some new conceptions about the tone of the movie. Maybe she’s a cool, young, successful fashion designer off to a go-see. Either way, the context of the street and the newly established subject lead us as viewers to a more specific interpretation of the coming story.

###Environmental Shots

Environmental shots focus on the environment or atmosphere of a scene. We’re now following our fashionable lead woman down the steps of the subway. The subway is dark, steamy, people are visibly annoyed - some are even grimacing at what can be assumed is a terrible smell. Our subject is now less put together, sweating in the summer subway heat. The tone has visibly shifted. The environment of the dank subway has altered our previous interpretations of the story. Now we’re considering that it’s not going to be a story of sunshine and rainbows, but maybe one of strife and the difficulties of ‘making it in The Big City.’

The three shots have effectively worked together to introduce our story, and you can do the exact same thing with your images. Look at the below triptych (three images telling one story). What do you think the story is?

IMG - Three shots

^(Our establishing shot is a quintessential iconic postcard shot of a recognizable scene. It makes it abundantly clear that this story takes place at the Taj Mahal. Our context shot gives us some detail about the location through the close-up carvings on the building, and the one covered figure. It makes us think of a calm visit to the site. The environmental shot resets our understanding of the story by showing us a busy, tourist filled scene. You can see the tourists all taking a similar photo to the establishing shot. This lets us know the environment is actually quite frenetic. )

You can also be less obvious with your establishing shots. In both examples, we used iconic imagery (the Empire State Building and the Taj Mahal) to set the scene. Look at the below image. Here you’re seeing more subtle clues as to what our story will be about.

IMG - Establishing shot

^(This establishing shot gives us a less glamorous introduction to the Taj Mahal. We can easy guess that's where we're headed based on the street sign. With further inspection we can see that this is most likely a cab, with a cracked windshield. The smog is visible, and not a brilliantly soft sunrise like in the previous establishing shot. Both manage to tell us where the story will take place in one shot, just in very different ways.)

#Culling

IMG - Culling

^(A two week vacation culled to 15 images.)

##Edit, Edit, Edit

Like any good movie or book, photography requires editing. No, I’m not talking about post processing, I’m talking about culling down your images to create a strong and intentional set. It can be Sophie’s Choice, but it’s crucial. When’s the last time you sat down and looked at all 350 photos in a friend’s Facebook album of their trip to Cleveland? Exactly. But what if that friend culled those 350 down to just 10, would you be more willing to look through them?

We talked about culling in a previous lesson, but it’s important to recognize that it is a crucial step in the storytelling process Look at the process below. Here you’ll see the result of two months in Greece, including a ferry trip in and out from Crete.

IMG - Unculled

^(We start with an enormous amount of images which need to be gone through. These were already culled to be "keepers" as opposed to burry, over/underexposed, or missed shots.)

IMG - First pass

^(The images were then sorted by common thread, in this case: location.)

IMG - Final set

^(The final set is grouped together and placed in an order which makes narrative sense. If you'd like to see the complete photo story shown here, head over to this blog post.)

Some more examples of finished photo essays:

• The sister essay to the above: How about Souvlaki Land?

• Seen in the image at the top of this section: Family Vacation in Paris

• India: Country of Contradictions

##Take one photo.

• Choose a color scheme outlined in the lesson, and make a photo with it in mind.
• When posting, don’t specifically mention which scheme you chose. Let your classmates guess!
• Comment on another participant’s post guessing which scheme they chose to try out.
• Include a text about what challenges you faced, and how you approached making the photo.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

IMG - Color!

^(Chelsea London © 2019 | Fujifilm X-T1 | 35.0mm | ƒ/1.4 | 1/1000s | ISO 500)

As photographers, we have a lot of tools available to us: compositional rules, lighting knowledge, the exposure triangle, and so on. Color is just another one of those tools. While it can be an intimidating element to a photographer, color can help solidify a voice. Knowing and understanding color theory - the way painters, designers, and artists of all trades do - a photographer can utilize color to their benefit.

You may already be aware of the concept of additive and subtractive color (RGB vs. RYB), which is something we will touch upon in the next post in this series. For the sake of this lesson, we will be talking in generics about color theory and are focusing on Red Yellow Blue (RYB).

In this lesson we’ll look at orders of colors, variables of colors, and color schemes. By the end, you should be able to recognize different color orders and schemes, and how to use variables to bring out the most in your images.

##Orders of Colors

IMG - Primary colors: Red, Blue, Yellow

IMG - Primary colors: Blue, Yellow

This may cause some flashbacks to elementary school art class, but let's start at the beginning: The orders of colors. There are three orders: Primary, Secondary, and Tertiary colors. When working in RYB color, the primary colors are red, yellow, and blue. That is to say, they are the three pure colors from which all other colors are derived. If we take two primary colors and add combine them equally, we get a secondary color. Finally, a tertiary color is one which is a combination of a primary and secondary color. Below you will see a graphic which depicts these three orders using an RYB color wheel.

GIF - Primary, Secondar, Tertiary

• Primary Colors: Red, yellow, and blue are what we call "pure colors." They are not created by the combining of other colors.

• Secondary Colors: A 50/50 combination of any two primary colors. Example: Red + Yellow = Orange.

• Tertiary Colors: A 25/75 or 75/25 combination of a primary color and secondary color. Example: Blue + Green = Turquoise.

Now, how do the orders of colors help a photographer? Well, by knowing the three orders, we can make decisions about which colors we want to show in frame. As this article continues we will explore how to effectively make those decisions to achieve the final look you are aiming for, but before then, let’s look at some examples of the three orders in actual photographs.

IMG - 1a

^(Figure 1a: Note the primary colors do not distract the eye from the subject. By using strong primary reds and blues, the subject is clear to the viewer.)

IMG - 1b

^(Figure 1b: Strong secondary colors often add interest and can easily become a subject on their own.)

IMG - 1c

^(Figure 1c: Tertiary colors are often used to create visual interest and make for other-worldly vibes.)

##Variables of Colors

IMG - Luminance was used to recover the soft colors of the sunset.

Now that we've been introduced to the orders of the colors, let's look at their variables. Those who have post processed images in Adobe Lightroom, Apple Photos, Capture One, or any other RAW editor may be familiar with what is commonly known as the 'HSL sliders.' HSL meaning: Hue, Saturation, and Luminosity. Let's start with hue.

GIF - Figure 2a: Hue slider (Lightroom Classic CC)

• Hue: Hue simply is the shade or name of the color. In our editing programs, this slider allows us to completely change a color. Watch what happens when I take this photo of an orange sunset and move the orange hue slider left and right.

GIF - Figure 2b: Saturation slider (Lightroom Classic CC)

• Saturation: Saturation is the amount of color, or its intensity. This is how we end up with those selective color photos we all... er... love so much, but it can also be used to isolate the strength of one color over the others. The photo in figure 2b consists of mainly 3 colors: blue, yellow, and orange. Watch what happens when I move each color's individual saturation slider.

GIF - Figure 2c: Luminance slider (Lightroom Classic CC)

• Luminance: Luminance is the brightness of the color. This helps us bring out bright color, recover skin tones, and many other techniques. In figure 2c you can see how the blues react to the luminance slider.

##Color Schemes

IMG - Orange and blue are complementary colors.

When you decorate a house, you choose the color of the walls to go with the furniture, wall hangings, curtains, and so on. You're essentially creating a color scheme. We do the same thing when we set up a shot. When being intentional with the color in your images, scheme absolutely comes into play. Three of the most popular color schemes are complimentary, analogous, and monochrome. To look at each individually, it will help to revisit our RYB color wheel.

• Complementary Colors:

GIF - Figure 3: Complementary color wheel

Simply put, complementary colors are the ones which sit completely opposite one another on the color wheel, and they, ahem - complement one another. For example, red and green may make you think of Christmas, or light blue and orange may make you think of the Mets (oh, only me?) But there's a reason these combinations create such strong emotions in us - they just look good together.

Below you will see a few images which utilize complementary colors. Note how our attention is not being fought for by strong colors, but rather the colors create balance.

IMG - Figure 3a: Tones of blues and yellows complement each other.

IMG - Figure 3b: Greens are reds are complementary.

IMG - Figure 3c: Darker shades of blue complement oranges.

• Analogous colors:

GIF - Figure 4: Analogous color wheel

Colors which sit next to each other on the color wheel and share similar colors are known as analogous colors. They will have one dominant color in common, most often a primary color, but can also be a secondary or tertiary. Analogous colors are often found in nature - think those rich oranges and yellows in a New England autumn.

Landscape photographers can really benefit from knowingly utilizing analogous colors, of course, but they also lend themselves to other aspects of photography, such as beautifully bokeh'd backgrounds of a portrait. By having similar colors in the background, the subject remains the focus.

Below you will see some examples of analogous colors.

IMG - Figure 4a: Varying shades of blue and green are analogous.

IMG - Figure 4b: Browns and oranges sit next to each other on the color wheel.

IMG - Figure 4c: Analogous shades of blues and purples.

• Monochrome colors:

GIF - Figure 5: Monochrome color wheel

While you may be familiar with monochrome referring to black and white, it actually refers to anything which uses solely one color value. Those images you see where there is overwhelmingly one color present are monochrome, for all intents and purposes. We see this technique often in those hazy sunrise/set shots, but it is also a very impactful technique for street shots.

Below we see three example images using monochrome colors.

IMG - Figure 5a: Shades of greens.

IMG - Figure 5b: Shades of orange.

IMG - Figure 5c: Shades of pink.

##How to Use Color Theory

IMG - How is color theory being used in this image?

Let's see this in practice.

So now we know the orders and variables, as well as three popular schemes of color, but how do those tools aide us in our photography? When we combine the three aspects we discussed above, we can deliberately look for or create scenes that further our intended story.

Note Figure 6a below. When I first approached this scene, I saw two things, interesting lines and complementary colors. With a little patience and a whole lot of luck, the jogger ran into the scene wearing one of the two complementary colors. Had this color story not been introduced, the image would have had much less impact. In this instance, the color creates the story.

Figure 6b utilizes monochrome in secondary colors. With a stark gradient from dark to light oranges, the image projects a warm summer's sunset - which is exactly what I was hoping to acheive as it was well over 105F (42C) - and trying to capture that in a photo was an important part of the story of my time in that city.

Finally, in Figure 6c we see analogous tertiary colors. While the color is not so much the subject as it is in the other two, it is still crucial to set the mood for the shot. The various levels of greens and blues in the ocean water enhances the relaxed atmosphere I was intending to create with this image.

IMG - Figure 6a: Complementary secondary colors.

IMG - Figure 6b: Monochrome secondary colors.

IMG - Figure 6c: Analogous tertiary colors.

##With great power comes great responsibility. or something.

To recap, we went over are three orders of colors (primary, secondary, and tertiary), three variables of color (hue, saturation, and luminance), and three popular color schemes (complementary, analogous, and monochrome). When you have a good grasp of these basic aspects of color theory, you're off to a good start and can work to manipulate a scene to create the desired ambiance or vibe in your shots.

Disclaimer: It is important to note that while RYB color is one with which we are all familiar, it is not the standard anymore. In fact, your photography software does not utilize RYB color by default. It uses a different, four color, subtractive color model known as "CMYK" (cyan, magenta, yellow, and key black). We stuck with RGB to keep it simple. In a future lesson, we will go deeper into color theory, as it is a rabbit hole. (Relevant xkcd is relevant).

In the meanwhile, an excellent resource for the choosing colors is Adobe's color wheel. Here you can chose a color wheel and scheme and be given applicable pairings of colors. If not for nothing, it's a fun and pretty to look at - try it out!

##Take one photo.

• Choose a compositional guideline outlined in the lesson, and make a photo with it in mind.
• When posting, don’t specifically mention which guideline you chose. Let your classmates guess!
• Comment on another participant’s post guessing which guideline they chose to try out.
• Include a text about what challenges you faced, and how you approached making the photo.

##Don’t forget to complete your Learning Journals!

Learning Journal PDF | Paperback Learning Journal

There are many visual tools in your artist’s toolbox which help create more striking visual narrative. One such toolset includes so called “compositional rules.”

Now, as I am not one for adhering to the rules, I prefer the verbiage ‘guidelines’ instead. So, that’s what we’re going to use from here on out.

By having a solid handle on these guidelines, we can prepare ourselves for whatever scenario we find ourselves in. As a documentary travel photographer, I often find myself in unfamiliar locations with little prep time. Of course I can (and do) research potential photographic opportunities before arriving, but one cannot simply anticipate every thing - especially if one hopes to interject their own unique voice into a photograph. With that in mind, having a mental lockbox of compositional guidelines to fall back on allows one to look at a location differently and with intention - and as all of my photography students can attest to, in my book, intention is everything.

Before we get to the guidelines, I want to explain how we will approach analyzing the example images. I’m going to talk a lot about “The Eye” and it’s movements. When you look at an image, try and pay attention to the route your eye takes while viewing. My grandma the talented painter once said to child-me, “the goal of a painter is to make The Eye go on a circular journey, never allowing it to leave.” That’s what you want in your photographs. You want The Eye to be free to move about the cabin frame in with ease.*

*Note: I am not one to speak in absolutes. There are times the artistic vision is to make a viewer feel cramped, frantic, uneasy, claustrophobic, etc. Knowing compositional guidelines, and when to not follow them will help in these situations.

I am also going to challenge you to rethink how you look at a scene. What I mean by that, is to not look at a landscape and see a grassy hill and tree. Instead, you should be seeing curves (the hill), strong lines (the tree and branches), softness (the grass on the hill), sharpness (the leaves on the tree). An easy way to get in to the habit of seeing differently in a scene is to unfocus you eyes (bonus points if all you have to do is remove your glasses) and just take note of the shapes and textures you’re seeing.

With all that out of the way, let’s have a look at some common and master-able compositional guidelines.

Rule (coughguidelinecough) of Thirds

Probably the most oft muttered of the compositional guidelines. So oft that I considered leaving it off this list all together. But, as it is the first rule most new photographers get a handle on, it seems unjust to ignore. Just please note that it is not absolutely necessary to always follow this guideline. There are absolutely endless opportunities where it is not necessary. Okay, off the soapbox.

Here it is: Imagine the frame divided into nine equal segments (this grid is often a feature you can turn on your camera LCD/EVF). By placing the most important elements/subject where the lines intersect, you are creating an arguably more interesting image. The important thing to note here is that not only are you showing intent by not plopping that coffee cup in smack dab in the middle of the frame, but you are also allowing for space for context. I approach the Rule of Thirds as a gateway guideline which allows for others to come in to play. More on that later.

Rule of thirds example

Captions of the images on imgur have additional context and analysis of each supporting photo in this post.

Leading Lines

Our eye naturally is attracted to lines, and instinctually follows them. You can use this to your advantage by placing a subject at the end point of a line. Some commonly used leading line are streets, fences, bridges, etc. I would urge you not to fall into the trap of using railroads to create a leading line as its both extremely dangerous and most often illegal.

Instead of falling into that trope, look for some less-obvious leading lines.

One commonly seen utilization of leading lines is a technique known as “single-point perspective.” In single point perspective the leading lines converge on a single vanishing point in the distance. If you’ve seen any Kubrick film, you will recognize this technique. It’s a great tool to give a sense of continuation of a scene.

Leading lines examples

Framing

Another commonly talked about guideline, but one with some real heft behind it. Essentially you are wanting to create a frame within the frame which highlights the subject, making it clear at what the viewer should be looking. There are plenty of found frames which can be used, such as er- door frames, mirrors in frames, window frames - seeing a pattern here? But guess what, it doesn’t stop there!

Be creative and make the frames. I for one use a lot of body parts - people pointing, shoulders, profiles, etc. My living room window sits eye-line with a tram lines and I cannot express how many times the bars connecting the tram to the wire have been used as a frame in my images.

Having trouble finding some of these lesser-seen frames? Go back to the unfocused eye trick. Are you seeing any strong lines filling the scene? Those are what you’re looking for - now just try and find a subject to which they can enhance and draw The Eye.

Framing examples

Scale

Scale is simply showing the viewer how large something is (or isn’t). By using an element which everyone knows the size of, you can show the viewer the immensity or puniness of an element. Common usages may be a person being completely dwarfed by a large building, thereby showing that building is impressively large. You can play this the other way, as well.

Looking at the image below, you’ll see the iconic Eiffel Tower. Everyone in the modern world has some conception of how large the tower is, but by making it tiny in the image, we’re now getting a sense of the sprawl of the city.

Scale examples

Rule of Odds

When The Eye looks at an image with an even number of elements, it bounces between them, with the frantic ping ponging of a tennis match, not knowing where to rest. Having an odd number of elements give The Eye some time as it moves from element to element.

When the brain processes even numbered elements, it tends to couple them up, which in turn splits the image. But, with an odd number it creates a connecting element and maintains the singularity of the frame. Please note that the word “element” here doesn’t necessarily mean a single object - sometimes an element can be a grouping. For example, a bouquet of flowers, a couple sitting together, a bottle of wine with a glass in tow, etcetc. For added compositional zen, when framing these elements do decide which is the primary subject, and balance the others off of it by making one physically larger than the other or playing with the depth of field.

Rule of odds examples

Repeating Patterns

Patterns come in many forms: lines, colors, shapes, textures, and so on. A strong pattern can be used to guide The Eye to the subject of the image. It can also make a solid object stand out and pop by breaking the pattern. Imagine a top down photo of a crosswalk (zebra crossing to the Brits reading this). We’ve got a strong pattern in the painted white lines. Now, imagine a person with a bright yellow umbrella walking across it. That solid yellow is amplified by the repeating nature of the crosswalk.

Patterns can be found everywhere. Yes, there’s the obvious crosswalk example, but challenge yourself to find patterns in less obvious places. Irregular patterns often appear in nature, like the disrupted sand as it is pushed and pulled from the sea. Regular patterns appear in manmade structures, and even can be found in crowd of people. Filling the frame with a strong pattern almost always creates an interesting shot.

Repeating patterns examples

Balancing Elements

Lack of balance is where many photos following the Rule of Thirds miss out. A photographer spends so much time making sure their subject is in that right quadrant of the photo that they miss the fact that the image is now heavily weighted.

Discussing visual weight can be hard to articulate, but when we are aware of it, it becomes extremely noticeable. Here’s another time when the unfocusing of eyes really comes in handy. Unfocus on a scene, does it just feel heavy on one side? You’re going to need a lesser-element to counterweight the subject element. That balancing element should be obviously of lesser-import either by making it smaller or more out of focus than the subject. An intentional balancing element can also create more context in a scene.

If we think back to that coffee cup in the Rule of Thirds segment, what could be used to both balance it and create context? Maybe an open book on a cafe table? Maybe a bag of coffee beans? Anything which tells the viewer where they are and fills in the unweighted space of the frame.

Balancing elements examples

Depth

The part of view that is closest to an observer is the foreground. The background is what’s furthest away from the observer. What’s in between is the mid-ground. Okay with that vocabulary out of the way, we can talk about depth.

By showcasing multiple layers in a frame, a photographer can give a sense of breath of a location. If there’s no specific foreground of a scene, you can create one. My go to is my lovely obliging husband’s profile. Be creative and try different angles to get solid differential fore, mid, and backgrounds. When doing this, you should make a choice as to where you’re placing your subject and make depth of field choices based around that.

Depth examples

Perspective/Viewpoint

Here’s something I tell all my photography students: what you see is completely unique to you. Your viewpoint is just that, your viewpoint. Use that to your advantage and showcase how you see the world. For me, I am not a tall woman, so I see the world from behind shoulders and from low angles. I can enhance that by positioning myself in a way which adds visual interest to a subject.

Get low, get high, find unique angles. Anything which isn’t the normal eye-height straight on will create a more dynamic image. You can add little hints of recognizable detail to help the viewer understand where you are while still showcasing something new about a recognizable scene.

Perspective examples

Nose and Headroom

This guideline is snagged from my former life as a filmmaker, but it’s one that holds just as much importance in photography. When photographing a subject, you want to leave enough breathing room. This goes for living subjects as well as inanimate.

If you’re photographing a person and they’re turned to the right of the frame, unless your intent is to make your viewer to feel claustrophobic, you should leave some space between the nose of the subject and the edge of the frame. Same goes for headroom. Leave a little room between the top of the subject to the top of the frame.

Now, of course there are times where this can be ignored, such as cutting the top of the head of a model in a headshot, but in general watch where you cut the frame. A good practice is to look at every corner and all edges of the frame while composing. Pay close attention to what’s being cut off. Be intentional with your framing choice.

Nose and Headroom example

Fill the Frame

If you’re unsure of how to effectively capture a scene, it may be because there are many distracting elements or unnecessary empty bits. Try filling the frame with your intended subject. This isolates the subject and makes it very obvious to the viewer. Don’t be afraid to get really close, either. Be completely unapologetic about your attempt to fill the frame. Combine this technique with patterns for a really dynamic shot.

Fill the frame examples

Negative Space

On the opposite end of the spectrum, we have negative space. This is where my mantra of be intentional really gets reinforced. There are absolutely times when what seems like unnecessary empty space is ideal for the photograph you’re attempting. Negative space can elicit a feeling of solitude, vastness, calm, etc.

When trying out negative space think about where you are placing the subject very carefully. Do you want to highlight the surroundings? Maybe placing the subject off-center within the rule of thirds is the way to go. Are you more interested in showcasing the emptiness around a subject? Try a more center-weighted composition. When done properly, negative space is an incredibly useful tool for showing atmosphere.

Negative space examples

Golden Triangles

Alright, you’re going to have to stay with me here a little, because this one might not click straight away. We’re going to go back to the rule of thirds for a moment. Remember how we cut the frame into nine rectangles. Well with golden triangles we cut the frame into diagonals and place elements accordingly. This creates something known as dynamic tension.

Essentially dynamic tension makes the viewer feel, well, tense. We’re not accustomed to strong diagonals in every day life. We see things on a flat plane, more or less. But, by introducing diagonals, we’re showing a scene in an unfamiliar way. Think of it this way: straight lines = stable, diagonals = rickety.

So how do we do it? Cut the frame into four triangles of two different sizes by drawing a diagonal line from one corner to the opposite, and then two lines off of the remaining two corners, reaching the first line at a 90 degree angle. Phew. You then want to place your elements within the triangles, or place diagonal elements running along the two lines. Still with me? Maybe let’s just look at some examples.

Golden triangles examples

Golden Ratio

Math time! Nah, who am I kidding, I’m not going to subject you to my terrible understanding of geometric formulae. Let’s ELI5 this one: Larger elements lead to smaller subject elements in a spiral. Imagine a snail’s shell or one of those really trendy spiral succulents you see all over instagram. The spiral starts with large bits and spirals down until the smallest bit. Basically The Eye is being lead to the center without you even noticing.

That’s what you’re trying to do with the Golden Ratio - use larger elements to sneakily guide The Eye to the smaller subject. That’s really the crux of it. Save the complicated algorithms to Euclid.

Golden ratio examples

Break the Rules

Once you have a good understanding of the guidelines, it is best to use them when appropriate. But, here’s the rub, you’re an artist and as an artist you need to express your creative vision. That might mean ripping the pages out of your text book Michael Scott style and throwing all the rules away. And that’s fine - more than fine, actually. Once you have a grasp of the guidelines you will understand when they benefit your final image and when you can tweak them to fit your needs. So get out there and practice practice practice so you can break break break!

Break the rules examples

Hopefully these guidelines help you to look at your images differently, and most importantly have you out photographing with intent. Happy composing!

tl;dr: Photograph intentionally!