1. Teacher: Kenji Tachibana Digital Photography I. Enrique – Thing Shot 16 slides Copyright © 2003 - 2009 Kenji Tachibana

2. Teacher: Kenji Tachibana Digital Photography I S tory: Hitting the golf ball The story is a natural for an action shot. Instead, Enrique’s shot is a static and not well done product shot. His re-shoot missed both the action shot or even the beautiful product shot opportunities. Enrique Example: Maximizing opportunities

3. Teacher: Kenji Tachibana Digital Photography I S taging: Action shot This could have been turned into an action shot by moving the club to a new orientation as shown to the right. Using a slow shutter speed to add blur to the club could have added to the moving… story. Enrique Example: Maximizing opportunities

4. Teacher: Kenji Tachibana Digital Photography I D on’t Shoot: White and shiny with direct sunlight Using direct sunlight in conjunction with a glossy white and bright metal subject created an impossible HDR challenge. The exposure is normal but the highlights are blocked up and the shadow is very dark.. Without making lighting or an in-camera adjustments, there is no way to maintain a natural looking tonal range under such extreme conditions. Enrique Example: Maximizing opportunities

5. Teacher: Kenji Tachibana Digital Photography I L ighting Solutions: 1.Cover the ‘set’ with a 4’ x 4’ translucent diffuser screen to soften the light. The diffuser acts like a cloud cover sky. 1.Cover the set with a white 4’x4’ light blocking material to create an ‘Open Shade’ lighting condition. 2.Use a white 3’ x 3’ reflector card (board) to reflect light onto the shadow side. 3.For other than assignments, there is also the flash-fill solution… Enrique Example: Maximizing opportunities

6. Teacher: Kenji Tachibana Digital Photography I In-Camera Solutions: 1.Adjust the camera contrast setting to ‘Low’. Compact digital have 3 levels of adjustments. DSLR can have up to 5 to 9 levels. 2.If the camera has adjustments dealing with HDR issues, that is a more appropriate adjustment to make. 3.With either the in-camera contrast or HDR adjustments, you must test it and see the results for yourself. Enrique Example: Maximizing opportunities

7. Teacher: Kenji Tachibana Digital Photography I Details Matter: Requirements Requirements are designed to keep you out of trouble. 1.Avoid shooting white, black, or shiny objects. 2.Avoid using direct sunlight as your light source. 3.If you use sunlight, be sure to diffuse it to look more like soft skylight. Velum (tracing paper) does a decent job of diffusing the light without loosing too much brightness. 4.Use diffuse Skylight which can be found in ‘Open Shade’ areas. Best skylight is found during a sunny day. It’s the blue sky component of Daylight (Daylight without the sun). 5.Use fill-cards or boards to reflect more light into the dark shadow areas. Enrique Example: Maximizing opportunities

8. Teacher: Kenji Tachibana Digital Photography I Histogram: Exposure graph The Histogram graph may not look the same in both the camera and Photoshop. The difference may be mainly due to the Histogram size between the camera and a full size computer monitor. And there are many other possibilities… Enrique Example: Learning opportunities

9. Teacher: Kenji Tachibana Digital Photography I Histogram: Exposure graph Here is a Photoshop version of the exposure graph. And it has the over exposure problem marked with a red oval. The image also has the red circles showing the blown out areas. Some of the better digitals have a feature called zebra striping that flashes the blown out areas of an image. Enrique Example: Learning opportunities

10. Teacher: Kenji Tachibana Digital Photography I Composition: Avoid red prop? Avoid using red on a 2 nd or 3 rd reading element or prop. Red is a power color and the high vibrancy makes it hard to not notice. In this case, the tee should not attract too much attention since it’s only a support character in your story. Enrique Example: Learning opportunities

11. Teacher: Kenji Tachibana Digital Photography I Composition: Avoid Logo and text? My eyes bounce back and forth between the red tee and the logo on the golf. If you’re not trying to sell the golf ball and brand, try not to show the Logo on the object. If you show the Logo, its orientation represent a horizon line. And leveling, or slanting the Logo becomes a major issue. Avoid those considerations if you’re just shooting for yourself… please discus these ideas… Enrique Example: Learning opportunities

12. Teacher: Kenji Tachibana Digital Photography I Composition: Optical center The logo placement looks sloppy. If you must show the logo, a good position would be the optical center as shown to the right. The same rule applies when centering the subject on the canvas. If you must center the subject, position it slightly above the vertical center as shown in the same example image. Enrique Example: Learning opportunities

13. Teacher: Kenji Tachibana Digital Photography I Composition: 1/3 x 2/3 Position the subject so that the background is divided into 1/3 x 2/3 as dotted line indicated to the right. Notice also that my dotted line reframing has been re-shaped into the assignment required 4:3 shape. Enrique Example: Learning opportunities

14. Teacher: Kenji Tachibana Digital Photography I Composition and Staging: Add the potential of movement… For the swinging club shot, I would have wanted the swing to come from a different angle as shown. This would have made a more dynamic golfing story. Enrique Example: Learning opportunities

15. Teacher: Kenji Tachibana Digital Photography I Consider: All the possibilities Think of the previous ideas presented not necessarily right or wrong but as “playing with ideas”. Thinking of getting the most out of the current situation or scene. What would make it right or wrong depends on your story idea. For instance, the logo might have been rotated to suggest movement. And the specific angle would have suggested the direction of that movement. And that way of thinking is about telling a story using visual clues. Enrique Example: Learning opportunities

16. Teacher: Kenji Tachibana Digital Photography I Art: Not science There are rudimentary rules of composition. Although, photographic design is more an art. The art of: Balance to imbalanceBalance to imbalance Symmetry to asymmetrySymmetry to asymmetry Dynamic movement to frozen actionDynamic movement to frozen action Straight line to wavy motionStraight line to wavy motion White on white to black on blackWhite on white to black on black Punchy brilliant colors to mellow pastelsPunchy brilliant colors to mellow pastels Welcome 7, Week 4 – Composition

17. Teacher: Kenji Tachibana Digital Photography I. End