1. Teacher: Kenji Tachibana Digital Photography I x Found Shot Opportunity – 26 slides

2. Teacher: Kenji Tachibana Digital Photography I Found Opportunity – Creative process Found Opportunity: Running with an idea I’m often thinking about how to illustrate certain kinds of photographic, design, and lighting ideas. While switching from one computer to another in my work area, I happened to notice a new kind of Sharpie. I’ve always found Sharpie pens to be very useful. So, noticing a new Sharpie product caught my attention and imagination.

3. Teacher: Kenji Tachibana Digital Photography I Found Opportunity – Creative process Object: Details The new Sharpie was bigger and had a different shape than the standard sharpie. My intuition immediately offered up an image idea of contrasting the old with the new size using a wide angle lens. My visualization depended on forced perspective distortion. And because of the small size of the objects, the camera would need special macro focus capabilities.

4. Teacher: Kenji Tachibana Digital Photography I Found Opportunity – Creative process Right Tool: Super wide lens with Macro capability My DSLR Nikon D70 is equipped with a super wide angle lens but it doesn’t have the macro focusing capability. My current favorite Sony H1 compact digital has a phenomenal 12x telephoto capability but it only has a standard wide angle. It also lacks a true macro focus capability. That only left my Nikon Coolpix 5400, which has both the super wide and the macro capability.

5. Teacher: Kenji Tachibana Digital Photography I Found Opportunity – Creative process Nikon Coolpix 5400: Prosumer compact digital It has a better than 4x zoom starting out at the super wide angle to beyond the portrait/product telephoto range. It also has special ED glass optics which assures corner to corner sharpness. It also has the RAW image output mode, a very high end feature. Combining that with the ISO 50 means extremely high quality image.

6. Teacher: Kenji Tachibana Digital Photography I Found Opportunity – Creative process Not Using Red: Warning I had recently been warning students about not using red in the background. Or using only small amounts of it with great care because it’s such a powerful color. And using such a intense color can take away from the subject. I also suggested using red toned down in its “intensity”.

7. Teacher: Kenji Tachibana Digital Photography I Found Opportunity – Creative process Using Red: Intentionally My visualized image was going to be dynamic but I was looking for “2 nd and 3 rd reading” elements to enrich the story beyond just seeing the two sharpie pens. My creative muse also talked to me through my intuition that I should try using high intensity red in the background.

8. Teacher: Kenji Tachibana Digital Photography I Found Opportunity – Creative process Background: Making it work The background is your opportunity to enrich the subject and story. It’s also a chance to add the illusion-of-depth. One of the amazing things that Leonardo Da Vinci’s did in the Mona Lisa painting is the depth that he created behind her. He did it by applying the rules of perspective and chiaroscuro, atmospheric haze. Da Vinci is actually credited with inventing the concept of adding “atmospheric haze” to the distant mountains to add to the illusion of depth.

9. Teacher: Kenji Tachibana Digital Photography I Found Shot Opportunity: Creative process S harpie: Shoot it This is my vermillion bull’s eye new-product-introduction shot. The black area around the image is the ‘cropFrame’ and the image has already been fully processed.

10. Teacher: Kenji Tachibana Digital Photography I Found Shot Opportunity: Creative process D esign: Balanced any way One criteria for good designis that it will usually look good (balanced)in anyrotated orientation. But, sincde thisis a recognizable image, the top Image will look the best. Do your best to view the others as abstract image elements. Then theywill all ‘work’. And the differences will be more about ‘implied motion’.

11. Teacher: Kenji Tachibana Digital Photography I Found Shot Opportunity: Creative process D esign: Abstraction Sometimes it helps to seethe design when the scene is reduced to blackand white. Some times a similar results can beachieved by using squint viewing.

12. Teacher: Kenji Tachibana Digital Photography I Found Shot Opportunity: Creative process D esign: Negative space The negative space shape, value, and color are just as important here as the subject. The subject and background are separate facts that are also interconnected in a relationship. The subject lives in and on the background. See the dark incident reflection (shadow) taking the subject line through the red surface.

13. Teacher: Kenji Tachibana Digital Photography I Found Shot Opportunity: Creative process L ighting: Top-back /w fill This set (scene) is lit by a soft top-back light creating the bright glare in the red bull’s eye. The incident highlight and the resulting dark shadow like reflection is part of the visual depth illusion. A large white card is on the table top reflecting the top- back light back into the set. It’s drawing the Shaprie name on the new product.

14. Teacher: Kenji Tachibana Digital Photography I Found Shot Opportunity: Creative process L ab Work: Lighting change While working with the image, a different lighting idea came to me. The end result of the lighting change could have been done in the original set by using a translucent light blocker.

15. Teacher: Kenji Tachibana Digital Photography I Found Shot Opportunity: Creative process P laying Out the Image Idea: I made up a headline and body text to turn the image into an ad layout. The headline and body text were added as another design element. Big BigShot The little brown fox jumped over the lazy purple cow. The little brown fox jumped over the lazy purple cow. The little brown fox jumped ver the lazy purple cow. The little brown fox jumped ver the lazy purple cow. The little brown fox jumped ver the lazy purple cow. Then

16. Teacher: Kenji Tachibana Digital Photography I Found Shot Opportunity: Creative process C ommercial Considerations: Design your shot with potential commercial use in mind. Compose your shots to stand alone or with a headline and body text for commercial use. Big BigShot The little brown fox jumped over the lazy purple cow. The little brown fox jumped over the lazy purple cow. The little brown fox jumped ver the lazy purple cow. The little brown fox jumped ver the lazy purple cow. The little brown fox jumped ver the lazy purple cow. Then

17. Teacher: Kenji Tachibana Digital Photography I An Ad to introduce the new big Sharpie C ommercial Consideration s: Big BigShot The little brown fox jumped over the lazy purple cow. The little brown fox jumped over the lazy purple cow. The little brown fox jumped ver the lazy purple cow. The little brown fox jumped ver the lazy purple cow. The little brown fox jumped ver the lazy purple cow. Then

18. Teacher: Kenji Tachibana Digital Photography I Important Information:. Pay Attention To Shape

19. Teacher: Kenji Tachibana Digital Photography I Important Information: S tay Shape Aware: Become super-conscious of shape. Know whether your camera has a 4:3 or 3:2 ratio. Even with a Compact 4:3 native shape, it can be adjust to 16:9 ‘accidentally’. DSLR native shape is 3:2 which is a wider shape than the Compact. How you frame any scene will be strongly influenced by your camera frame shape. A pro photographer often shoot variations for different page layout shapes.

20. Teacher: Kenji Tachibana Digital Photography I Back To: Sharpie shot. Working Backwards

21. Teacher: Kenji Tachibana Digital Photography I Back To: Sharpie shot ID Version: The shot I was inspired to shoot the ‘ad’ shot for the new Sharpie. In hindsight, I thought that it might be useful to re-shoot the Sharpie as an ID shot. Since ‘size difference’ was the primary story, I choose a grid paper background.

22. Teacher: Kenji Tachibana Digital Photography I ID Version: The shot I was inspired to shoot the ‘ad’ shot for the new Sharpie. In hindsight, I thought that it might be useful to re-shoot the Sharpie as an ID shot. Since ‘size difference’ was the primary story, I choose a grid paper background. Sharpie: ID shot

23. Teacher: Kenji Tachibana Digital Photography I Conclusion: S ummary: Here are examples from stage 1 ‘ID’ and stage 4 ‘Repurposed’ layouts. Big BigShot The little brown fox jumped over the lazy purple cow. The little brown fox jumped over the lazy purple cow. The little brown fox jumped ver the lazy purple cow. The little brown fox jumped ver the lazy purple cow. The little brown fox jumped ver the lazy purple cow. Then

24. Teacher: Kenji Tachibana Digital Photography I x End