LECTURE NOTES: ART 61.2 COLOR PHOTOGRAPHY
WEEK ONE LECTURE
II. SHOOTING IN COLOR
A) Introduction to color emulsions
1. Review panchromatic film
a) silver halide in gelatin emulsion
b) sensitive to white light (combination of all color)
2. Color emulsion
a) Comprised of three separate emulsions (and several layers)
1- top layer sensitive to blue light
2- middle layer to green
3- bottom to red
b) dye replaces silver crystal, forming dye clouds
1- blue emulsion layer becomes yellow cloud
2- green emulsion, magenta cloud
3- red emulsion, cyan cloud
3. Light Sensitivity
a) Speed-- ASA/ISO, like panchromatic
b) Color temperature- Defined, in scientific terms,
as a Black Body-- a hypothetical object that absorbs all energy that falls on it. When heated, a black body turns color, first red, than yellow, ultimately blue or violet.
(Color Photography, Horenstein, page 34-35)
Measured in degrees Kelvin:
1- daylight/electronic flash-- 5500K, yellowish-orange
2- tungsten lights (photoflood bulbs, among others- 3200K- orangish-red
3- open shade- 10,000K blue-violet
4. Types of color films
a) Color or Chrome (AKA reversal, and slide)
b) Professional vs. amateur
c) Emulsion batches- slight variances from batch to batch
d) Bias- warm, cool, or neutral
e) Recommended makes and models:
Agfa Ultra 50
Fujicolor Reala
Fujicolor NPS 160
Kodak Vericolor III 160 (VPS)
Kodak Pro 100 ( and Pro line)
Fuji Professional NHG 400
Kodak Ektapress line
Fujicolor NPL (medium format only!)
Fujichrome 64T
Ilford XP-2
B) Exposing color film
1. Panchromatic exposure-- more light, more emulsion density
more light= bigger, softer grain
2. Exposing Color: more light= more dye cloud (more color!)
more light has no undesirable effects on grain size!
3. Meter readings: based on shadow detail, just like black and white In color, underexposure results in loss of luminance a and saturation
4. Exposure Index: 1/3 to 1 stop over
C) Contrast control:
1. Panchromatic contrast: subject, light source and materials/proc.
2. Color contrast: subject color, light source and materials
a) no process control-- expense/ effect
b) materials-- film type
c) light source/ exposure: Additional overexposure for flat lighting
Shooting Assignment #1: Exposing Color Negative Film
Grade Value: 5 points
Due: Negatives due January 27, prints due March 17
Reading Assignment:) Chapter 8, Printing Color Negatives, Exploring Color Photography, or Chapter 4, Making Color Prints, Color Photography (a Working Manual)
Shoot one roll of professional color film. Film type is at your discretion, but must be professional and chosen to compliment your subject matter. Speed, grain, and color characteristics (including bias) should be considered.
Subject Matter is mostly up to you, but must be exposed in available daylight conditions. No indoor lighting! Use this roll to begin developing ideas for the Final Portfolio.
For roughly half of your exposures, seek out subjects and scenes that are composed primarily of neutral values—whites, blacks and grays-- rather than vivid colors. Try to make interesting color photographs of subjects that have no color!
For the rest, compose arrangements of isolated colors amid these neutral values.
Exposing the Film:
Set your ISO gauge (Exposure Index) at the manufacturer's recommended ISO.
For each subject, bracket as follows:
2 stops under
Indicated exposure
1 stop over
2 stops over
3 stops over
Shoot all subjects on the roll in this manner.
Roll is due, processed and in an 8 x 10 clear negative sleeve, January 27 class meeting.
Making the Prints (proceed in this order!)
Print # 1: You will choose one of the NEUTRAL (blacks, whites and grays only!) images from this roll and begin your darkroom experience by making a print of the negative that is 1-3 stops overexposed. Consult with me if you are not sure which is the best exposure.
Contact Sheet: Then make a contact sheet with an exposure based on the base tone (blacks in the clear parts of the film). Use the filter pack from your first print (#1).
Print # 2: Now select a negative of an image where some color is combined with the neutral values and print the 1- 3 stop overexposure. Start with the same filter pack you determined printing #1.
Print # 3: To complete the assignment, make a second print of the same image, this time using the 2 stop underexposed negative. Use the same filter pack and do a test strip to determine the exposure time that matches the highlight densities of the print from the 1-3 stop overexposed negative.
Assignment, including the contact sheet and three enlargements, is due at the beginning of February 25 class meeting. Follow the instructions for submitting assignments in your course description handout.
Ongoing Shooting Assignment- the Portfolio Journal
Grade Value: 9points
The Portfolio Journal is an extension of both the literary journal (or diary) and the artist's sketchbook. It is a method of recording and developing photographic ideas.
This project is, in fact, the beginning of your Final Portfolio Project. For the Final Portfolio you will be required to submit a minimum number of 10 color photographs that address a specific subject or theme. You are responsible for selecting and, more importantly, developing (evolving! resolving!) this visual idea.
This assignment, the Portfolio Journal, is a tool to help you do this. It is designed to encourage you to see photography as a process where images are resolved through the acts of discovery that occur when one is immersed in the medium.
Painters work and rework canvases. They draw the same subjects over and over again. Think of each frame on your journal rolls as a page in a sketchbook: an opportunity to record a visual idea, to explore modes or manners of shooting, to introduce new subjects or genres into your work.
At three times during the semester—February 25, March 25 and April 15—we will present our Final Portfolios as works in progress. On each of these days you will submit for discussion AT LEAST 1 contact sheet of a 36exposure roll of professional color film, and at least one enlargement made from that roll.
These rolls must be shot IN ADDITION to any film shot to satisfy other class assignments. Any film shot for class assignments ARE NOT ELIGIBLE FOR PORTFOLIO JOURNAL ASSIGNMENT POINTS.
The subjects of your Final Portfolio are your choice, and you will use the Portfolio Journal assignment to explore and develop the subject matter that will make up you final presentation on May 22. You may photograph whatever seems appropriate to your work at any time during the semester, but we will use the three due dates to address specific phases of the development of your ideas:
Roll 1: Finding a Subject, due February 25, at the beginning of class:
Use this roll to examine potential subject matter for your project. Explore or experiment shooting different people places and things that relate to your general ideas and interests
Roll 2: Define the Imagery, due March 25, at the end of class:
From roll 1, evaluate which subjects and scenes have the best potential to make your ideas visible. Respond by re-photographing them, or continuing to photograph like subjects, in an effort to further define your ideas.
Roll 3: Expand the Scope, or Flash Photography Exercises, due April 15, at the beginning of class:
As your ideas progress, use this roll to move into other areas suggested by your experiences and evaluations of rolls 1 and 2. This movement may be in either subject of technique. You may either incorporate the Flash Photography Exercises into your shooting of this roll, or use the Flash exercises to explore a new direction for your ideas.
For the final presentation Resolve the Meaning: Continue photographing through the end of the semester, looking to fill in gaps, parts of your idea that don’t yet seem visible, and to correct any deficiencies or unresolved issues you are considering.
Each of these rolls will be worth 3 points towards your final grade. Follow the instructions for submitting assignments in your course description handout.
Additional rolls for this assignment may be handed in at the beginning of any class meeting on or before March 25, for 2 points each extra credit.
WEEK TWO LECTURE
I. INTRODUCE PORTFOLIO ASSIGNMENT
II. THE COLOR WHEEL
Margaret Mead: Eskimos have 17 words for the color white, describing different shades: We have less than a dozen commonly used words to describe all colors.
Josef Albers: in Interaction of Color concludes we have a low retention for memory for color, unlike sound and other sensory input.
The Color Wheel- A representation of the primary colors of light. The ever-changing wavelengths of light are represented by points of pure color on a pie graph.
A) Red, blue & green are Primary-- Opposites are complimentary, aka Contrasting
B) Adjacent are Harmonious
C) Terms for Describing Color
1. Hue: Name of color, red, green, etc.
a) white, gray and black have no hue
2. Saturation (Chroma or Intensity): Purity of hue:
a) Low saturation: grayer colors, pastel colors
b) Highly saturated:
3. Value(Brightness, Luminance): Vibrancy of colors-- appearance of brightness or dimness, relative to the other colors in the scene-- a subjective description
a) Blackness in hue: little or no saturation or luminance
b) Whiteness: oversaturation and high luminance
III. COLOR FILTRATION
SUBTRACTIVE PROCESS--
A) Start with white light --the combination of all colors
1. Red, Green and Blue
2. Each adds its color to white, or equal parts equal white light
B) : Subtract (filter out) additive primaries using Subtractive Primaries
1 Subtractive Primaries: created by adding equal parts of any two
additive primaries:
2. Cyan, Magenta and Yellow
2.Equal parts subtractive primaries equals black
C) Subtractive primaries absorb 1/3 of the visible spectrum and allow the other two thirds to pass through:
Yellow absorbs blue and allows red and green through
IV. THE COLOR DARKROOM
A) Materials
B) Panchromatic processes/ darkroom
1. Chemistry and its function
2. The Enlarger
a) aperture and timer
b) contrast filtration
C) Color processes/ darkroom
1. Developer- develops and activates dye
2. Bleach/Fix: washes away silver and inactivated dye
3. Color Enlarger
a) Aperture and timer
b) Color filtration- adjust color rendition of each layer individually
TOUR OF COLOR DARKROOM
VI. COLOR BALANCE
A) the Viewing booth: 5000K flouescent bulbs, though galleries and museums use 2500 K Tungston bulbs
B) The filter pack: CYM
1. Cyan: should remain a constant-- set at 0
2. Red: set at 50
3. Yellow: set at 50
C) Filter Factor: exposure will change as filter pack changes
IV. MAKING COLOR PRINTS
A) Similar to B&W: Enlarger
B) Color affected by density, contrast and color balance:
C) Proper Darkroom habits
1. Preparation- think of everything before the lights go off!
2. A place for everything, and everything in its place
3. Keep paper light safe!
4. WRITE EVERYTHING DOWN!
MAKING A COLOR PRINT
Make a test exposure: expose a selection of times in three-second increments, using either a documented filter pack (recommended) or the paper’s suggested filter pack.
Evaluate the test to find the correct exposure time for the main highlight densities.
Make a workprint at this exposure time. Double check exposure: If an adjustment needs to be made, run another work print at the adjusted exposure time.
ALWAYS FIND THE CORRECT OVERALL EXPOSURE TIME BEFORE ATTEMPTING A COLOR CORRECTION!
Evaluate the color of the workprint:
Identify the color cast (too red? Too yellow?)
Find opposite color on the color wheel
Select this color viewing filter from the set (if the print is too magenta, green is opposite, select the green viewing filter)
View print through filter to determine amount of correction
Follow instructions on the WHITE side of the viewing filter!
Adjust exposure time using the filter factor…
If you are Adding color filtration:
original exposure time x filter factor = new exposure time
(18 seconds x 1.1 = 19.8 seconds—round it up to 20 seconds)
If you are Subtracting color filtration:
original exposure time
filter factor = new exposure time
(16 seconds / 1.2 = 13.3 seconds—round it down to 13 seconds)
Shooting Assignment #2: Color Composition
Grade Value: 5 points
Due: March 17
READING ASSIGNMENT: Chapter 15, Advanced Color Photography (Photography in Focus) or Appendix 1: Color Theory (Color Photography: a Working Manual)
Submit for discussion two color photographs, one a composition of HARMONIOUS colors and one a composition of CONTRASTING colors.
Subject matter is up to your discretion, but it should not be arbitrary! Harmonious and contrasting compositions lend specific character to color photography and your subject matter should reflect this.
Also, it is easy to find pre-composed arrangements of color (on clothing and billboards, for instance), and easier still to construct them. This is not a satisfactory way of completing the assignment. Instead, choose a subject, evaluate the colors of your subject matter and compose the image to best use the color arrangement to assert your visual idea!
In fact, I recommend you approach this assignment by not thinking in terms of color, but in terms of subject matter. That is, do not choose subjects based on their colors! Choose subjects based on your subject of your Final Portfolio project. Then, evaluate the colors available in order to judge what arrangement of colors best suits your ideas for your subject.
Assignment, including a contact sheet and enlargements, is due at the beginning of March 17 class meeting. Follow the instructions for submitting assignments in your course description handout.
Week Six Lecture
GOOD COLOR DARKROOM HABITS
I. Frustration, complaints of not enough time due to:
A) Lack of preparation: Bring your materials! Sharpies, cotton gloves, dodging and burning tools, notebooks?
B) Not writing things down
C) Cutting corners.
II. Learn an Approach and learn a Procedure- Learn to work efficiently!
A) Seperate the creative and technical aspects making a color photograph
Seth Dickerman: "Don't think in the darkroom"
B) my approach (a common one) is to seperate the task into three seperate and decisive steps:
1. CONTACT SHEETS
a) Editing tool-- which pictures work?
b) 1st quality evaluation-- how are the exposures?
c) Make a good one! color balanced? black film base?
Taking photographs and printing negatives are two absolutely unrelated processes. Pretend you're looking at someone else's negatives. Divorce yourself from the inspirations and ideas that compelled you to photograph. Look at what's in your hands and ask yourself what works.
2. WORK PRINT
a) Learn to live with your images!
b) They call it a work print for a reason: evaluate! judge!
1. exposure
2. color balance
3. size
4. paper type
6. cropping (compose with the camera, but...)
8. identify your interest
7. determine dodge, burn, etc. requirements
9. write yourself a Work Order: technically,how will you realize your vision?
c)Decision making: There three controls in color printing : Density , Contrast and Color Balance--
Density is light or dark-- controlled by time/ aperture
Contrast is hard or soft-- controlled graded paper, dodge, burning
Color Balance-- controlled by filtration
3. THE PRINT
Seth Dickerman: Making a good print is not hard: If its hard then you must be doing something wrong.
A) Don't think in the darkroom!
B) Make a useful test strip--
1. no less than 1/2 sheet of paper
2. strategic placement
3. show plenty of time
C) Determine a proper density before you adjust for color balance!
D) Make a work print (don't think!)-- a straight print
1. exposure?
2. contrast?
3. dust? focus?
E) Balance the color
1. Write # and balance on front of each print
2. Adjust exposure for filter factor
F) Make the print
1. Dodge and burn
2. evaluate w/ wk. print side by side!
Shooting Assignment #3: Black and White and Color
Grade Value: 5 points
Due: March 25
Read: Chapter 3, The Act of Seeing, and Chapter 4, Thinking in Color
The fundamental distinction between black and white and color photography is compositional. In black and white photographs, composition is dictated by line and tone (the placement of dark and light values relative to each other). In color photography, composition is the product of line, value (the color equivalent of tone) and hue. In our last assignment we explored the relationship between harmonious and contrasting hues.
You may complete this assignment in one of two ways:
1) Choose a photographic subject related to your ideas for your final portfolio. Shoot that subject in both color and black and white. When shooting, focus on the relationship between the subject and each film type. Shoot at least one 36 exposure roll of each film type. Make an effort to explore and communicate the subject photographically.
Choose your favorite example from each film type and make a finished print for discussion.
Or 2) Choose one of your favorite or most successful efforts in black and white photography. Revisit this subject in color, taking into account the differences between film types. Shooting at least one roll of 36 exposure film, make an effort to explore and communicate the subject photographically.
Choose your favorite example and make a finished print for discussion. Also bring the black and white print of the same subject.
In either case, submit for discussion two photographs, one in color and one in black and white. Excepting the color, these two images should be as identical as reasonably possible. The assignment, including contact sheets and enlargements, is due at the beginning of March 25class meeting. Follow the instructions for submitting assignments in your course description handout.
Extra Credit Assignment
Liston to podcast Camera Position, by Jeff Curtos, episodes 75 and 76. These are available for free on iTunes and cameraposition.com.
Create and submit your list of twenty items as outlined by Curtos in episode 75.
Download the PDF that accompanies episode 76 on cameraposition.com. Fill out the worksheet as instructed in episode 76.
Submit these two documents with your Portfolio Journal projects on March 25 for 4 points extra credit.
Also remember any Portfolio Journal prints you have completed, including extra credit. Be prepared to introduce these and discuss them in class!
Flash Photography Workshop
Exercise 1: Flash Exposure
Use a 100/160 ISO color film for this exercise. For each frame you shoot, note the camera and flash settings on paper.
Pose a subject indoors, away from any window light. Turn off as many lights as you can while still being able to see well enough to work. Photographing a still life or portrait (if the person has great patience) for these exercises would be ideal. If a still life, select an object or group of objects that is larger than 30 inches in height and width.
If you have one, set your camera on a tripod in order to copy a single image throughout the exercise. Otherwise, photograph from the exact same vantage point, so each image is as close to identical as possible, with the only variable being the quality of the flash illumination.
REFERENCE PHOTO
Start by making an available light exposure using your camera’s light meter. Bracket this exposure a few frames, in order to ensure a useful reference image.
MANUAL EXPOSURE the most dependable and practical technique
Set the on ASA/ISO on the flash unit, if you are using a vintage unit
Put the camera in the manual exposure mode (M), if you are using an electronic camera
Set the shutter on your camera’s sync speed, likely 1/125 or 1/60
While shooting, wait for the flash to fully charge between frames!
1) Measure off a precise distance that appears on your calculator dial (I recommend 10ft.)
2) Place the camera at this distance and calculate the exposure:
Set flash to M (manual)
Guide number ÷distance (in feet) = f stop
OR- on the flash calculator dial, read corresponding aperture for flash-to-subject distance
3) Shoot one frame
4) Open the aperture ½ stop. Make another exposure.
5) Repeat until you have bracketed 2 stops overexposed
6) Repeat steps 4 and 5, this time bracketing for underexposure
DIFFUSING DIRECT FLASH softens flares and shadows
Repeat the exposure test with a handkerchief or other diffusion device on the flash head.
For in this case, bracket three full stops overexposed, in half-stop increments. It is not necessary to bracket underexposed.
OFF-CAMERA FLASH creates the illusion of an indigenous light source
Repeat the exposure test with the flash positioned off-camera, at a 45-degree angle in relation to your subject. Remember to set the aperture according to the flash distance, not the camera distance!
BOUNCE FLASH creates a soft, broad light source ideal for natural effects indoors
Repeat the Diffusing Direct Flash exercise, this time with the flash set at the appropriate bounce angle. Remember to work in a room with a white ceiling, and set the aperture according to the flash-to-ceiling-to subject distance, plus one stop. As in the diffusion exercise, bracket open 3 stops, and don’t bother bracketing under your calculated exposure.
Hand in a contact sheet and your shooting notes 3/25 for Portfolio Journal assignment or extra credit
Week 8-- FLASH PHOTOGRAPHY
I. WHAT PEOPLE HATE ABOUT FLASH
A) Too confusing
B) Harsh, ugly light
C) Shadows
D) Have I missed anything?
II. WHY USE FLASH?
A) Greatens low-light capability/ allows use of finer grain film
B) Allows greater control of depth-of-field and shutter speed
C) Alters/improves contrast: brightens highlights and adds
shadow detail
D) Sharpens image and freezes motion
E) Corrects/ Improves color
III. BACKGROUND INFORMATION AND TERMINOLOGY
A) Stop: Increment for measurement of light
1) Adding or subtracting stops = reciprocal doubling or halving
of amount of light
2) All camera functions measured in stops: aperture, shutter
speed, ASA rating
B) Review of available light exposure
1) Determined by Film speed, aperture and shutter speed
2) Reflective light readings: meter calibrated to middle gray
3) Zone System
IV. PRINCIPLES OF FLASH EXPOSURE
A) Determined by film speed, aperture and flash-to-subject distance
1) Flash duration 1/1000 to 1/16000 sec.
2) barn door shutter syncs @ 1/60 sec.
3) leaf shutter syncs @ all speeds
B) Inverse Square Law: The intensity of light is related inversely to
the square of the distance from the light to the subject:
1
change in intensity = (change in light-to-subject distance)2
That is: As light travels, the area it must cover increases. With each doubling of distance it travels, it covers 4 times as much area
Just remember: when the distance doubles exposure reduces 2 stops
and: If the exposure changes 1 stop, the distance has changed by a factor of 1.4
C) Depth of Light
D) Flash output
1) Guide number: represents effective light output of the unit
a) quoted in relation to film speed, 25 or 100 ASA
Page 2
b) used to determine exposure: Guide Number
Distance in feet = f-stop
E) Determining Guide Number
1) set flash to 100 ASA
2) Multiply 10 ft. by the corresponding number on the manual exposure scale
Or:
1) With 100 ASA film, pose an average indoor subject 10 ft. from flash
2) Bracket exposures at 1/2 stop intervals throughout lens range
3) Choose the best exposure
4) Multiply that f-stop number by 10 (distance)
5) to convert for other film speeds, multipy or divide GN by 1.4 per stop
V. MANUAL FLASH EXPOSURE
A) Manual exposure
1) Set flash to M (manual), set ASA (on flash!)
2) Guide Number
Distance in feet =f-stop
3) OR- Choose corresponding aperture for flash-to-subject
distance
VI. DUFFUSING DIRECT FLASH -- Eliminates harsh quality of flash illumination
A) A white hanky and a rubber band: $1.95, 1-stop reduction
B) Portable soft box: $20, 1/2 to 2 stop reduction ( not for auto mode!)
C) Mountable bounce card: $20, up to 1 stop reduction
D) Semi- opaque flash cap: $20, 2 stop reduction
VII. BOUNCING FLASH-- Eliminates harsh and directional quality of flash illumination
A)Why? Diffuses light for more natural illumination
B) Aiming bounce: Angle of incidence = angle of reflection
C) Use white or highly reflectuive surface
D) For color: color of bounce surface will reflect on subject!
E) Manual exposure: Guide Number
(D1+ D2) , then open 1-2 stops
OR:
Determine flash-to-bounce-to-subject distance, plug into
scale, and open aperture 1-2 stops
VIII. OFF- CAMERA FLASH-- Cord and a tripod work wonders!
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IX. AUTOMATIC EXPOSURE MODES
A) Setting exposure
1) Light sensor or Thyristor
a. Functions as reflective light meter
b. Reads middle gray
c. Susceptible to same innaccuracies as any reflective meter!
2) Set ASA on flash and choose automatic mode according to distances
3) Ensure thyristor points at subject
4) Flash will fire and automatically cut off when thyristor
sees correct amount of light for that aperture
5) Confidence light will illuminate when exposure is correct.
B) Bouncing in automatic exposure mode
1. Ensure thyristor points at subject!
2. Choose auto mode that covers flash-to-bounce-to subject dist.
3. look for approval from confidence light!
C) Dedicated Flash
1) OTF metering: reads light reflected off the film
2) Automatically compensates for bounces and filters
3) Works at any aperture without resetting flash
BREAK?
X. PRINCIPLES OF LIGHTING
A) Key Light: Primary illumination of the subject
B) Fill Light: Illuminates shadows cast by key
C) Background Light: Illuminates backround in relation to subject
D) Rim, or Hair Light: Seperates subject from background
E) Lighting Ratio: Relationship, as expressed in stop values, between
key, fill and other lights
1. 1 stop difference = 2:1 ratio
2. 2 stop difference = 4:1 ratio ( customary key/fill ratio)
3. 3 stop difference = 8:1 ratio, etc.
4. 2 1/2 stop difference = 6:1 ratio
F) 1:1 Power Ratio
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XI. FLASH AND AMBIENT EXPOSURE
A) Why? Brightens and adds contrast to subjects in low light
B) Use the f-stop required for correct flash exposure and set shutter speed according to amount of ambient light you wish to record:
1) Determine manual flash exposure (say, f 8)
2) Measure ambient light for that aperture (say, 1/4 @ f 8)
3) Adjust shutter for desired lighting ratio (1:1= 1/4, 1:2= 1/8,...)
C) Use only in fairly good light, with a tripod in order to prevent blur
XII. FILL FLASH
A) Why? Adds detail and color saturation to shadows
B) Available light is the key: exposure is based solely on light meter
reading. Flash is the fill:
1) Takes shutter priority reading of subject (say, 1/60 @ f 16)
2) Determine Manual flash exposure (say, f 8 @ 10 ft.)
C) When flash is 2 stops underexposed, it provides 4:1 ratio. If flash,
as fill, is strong as or stronger than key, do this:
1) Increase flash-to-subject-distance (say, f 16 @ 15 ft.)
2) Reduce aperture by increasing shutter speed, if possible
(say, 1/30 @ f 22)
3) Reduce output by control or diffuser (or hanky!)
D) Fill Flash in Automatic mode
1) Set automatic mode for proper distance
2) PUSH the ASA on the flash to match the desired lighting ratio
XIII. VARIABLE POWER MODE
A) Reduces light output by halving and halving again (sound familiar?)
B) Shortens flash duration- down to 1/ 16,000 in some cases
XIV. MULTIPLE FLASH
A) Slaves
1. activated by light sensor or radio control
2. Make sure sensor is exposed to main flash (no true rim lights)
2. Use in manual mode only (sensor is not in camera position)
3. Slave as Background
a. turn flash head away from main subject
b. set flash -to-(bounce-to-) background distance from slave
c. set flash-to- (bounce-to-) subject distance from main unit
4. Slave as Key light
a. set flash -to-(bounce-to-) subject distance from slave
c. set flash-to- (bounce-to-) subject distance from main unit
XV. STROBES AND FLASH METERS
FLASH PHOTOGRAPHY WORKSHEET
1) Pose a subject indoors, away from any window light. A still life or portrait would be ideal, if the person has great patience
2) Shoot a photo with only available light
3) Shoot identical photos using the three following techniques (2-3 frames each): Manual Exposure, Automatic Exposure and Bouncing Flash
4) Pose the subject in an area that receives a fair amount of available light, either outdoors, in window light, or a well-lit interior. Shoot a photo using only available light
5) Shoot identical photos using the three following techniques(2-3 frames each): Combination Exposure, Manual Fill-Flash, Automatic Fill-Flash (Choose and note your lighting ratios!)
Here is a review of the techniques:
Remember: Camera needs to be set at sync speed or lower! ASA needs to be set on flash unit!
MANUAL EXPOSURE the most dependable and practical technique
1) Set flash to M (manual)
2) Guide Number
Distance in feet =f-stop
3) OR- on flash, read corresponding aperture for flash-to-subject distance
AUTOMATIC EXPOSURE good for candid, moving, and unpredictable subjects
1) Choose an automatic mode (Note: Automatic modes are usually determined by aperture #'s or color codings and usually cover a range of effective distance. Make sure the automatic mode you choose includes your anticipated flash-to-subject distance(s)!
2) Make sure thyristor points at subject
3) Flash will fire and automatically cut off when thyristor sees correct amount of light for that aperture
4) Confidence light will illuminate when exposure is correct.
Remember: Susceptible to same innaccuracies as any reflective meter!
BOUNCING FLASH diffuses light for more natural illumination
Remember: Aiming bounce: Angle of incidence = angle of reflection
Use white or highly reflectuive surface (color of bounce surface will reflect on subject!)
1) Manual exposure: Guide Number
(D1+ D2) , then open 1-2 stops
OR:
Determine flash-to-bounce-to-subject distance, plug into
scale, and open aperture 1-2 stops
2) Automatic exposure
a. Make sure thyristor points at subject!
b. Choose auto mode that covers flash-to-bounce-to subject dist.
COMBINATION EXPOSURE brightens and adds contrast to subjects in low light
Remember-- Flash is the key light: use the f-stop required for correct flash exposure and set shutter speed according to amount of ambient light you wish to record:
1) Determine manual flash exposure (see MANUAL EXPOSURE)
2) Using the camera's light meter, measure available light for that aperture
3) This combination of aperture and shutter will result in a 1:1 ratio between flash and available light.
4) Adjust shutter for desired lighting ratio.
Remember: Use only in fairly good light and, if possible, with a tripod in order to prevent blur
MANUAL FILL FLASH adds detail and color saturation to shadows
Remember: Ambient light is the key: exposure is based solely on camera's light meter
reading. Flash is the fill:
1) Take a shutter priority reading of subject (to match your sync speed!)
2) Determine Manual flash exposure (see MANUAL EXPOSURE)
3) When flash aperture is 2 stops larger than camera's light meter reading, it provides 4:1 ratio. If flash, as a fill light, is strong as or stronger than key, do this:
a) Increase flash-to-subject-distance
b) Reduce aperture of key reading by increasing shutter speed, if possible
(say, 1/30 @ f 22)
c) Reduce output by variable powercontrol or diffuser
AUTOMATIC FILL FLASH
1) Take a shutter priority reading of subject (to match your sync speed!)
2) Set flash in automatic modeautomatic mode matching camera's aperture. This will arrange a 1:1 ratio between available light and flash
3) PUSH the ASA on the flash to match the desired lighting ratio
Name:____________________
ART 61.2 INTRODUCTION TO COLOR PHOTOGRAPHY
MIDTERM EXAM- DUE March 31
This is an open book, take home exam. The answers can be found in the course text. Answer the following questions in your own words and cite the page or pages from which you cull your response. If you are able to answer without referring to the text, feel free to note this, though the ability to do so will have no effect on grading. You may write or type in the space provided, or staple an additional sheet for type or computer printouts. Legibility and typing are most appreciated! Each of the following questions is worth one point towards your final grade:
1. Define filter factor and explain how color filtration affects exposure when color balancing an RA-4 print.
2. Explain the difference between color and panchromatic photographic emulsions. Describe how color emulsions manufacture an image.
3. Explain color temperature and how the color of a light source affects color photography:
4. Why are color negative films generally more tolerant of overexposure than panchromatic films?
5. How does increasing and decreasing exposure time alter the saturation and luminosity of color prints?
Final Portfolio Assignment
Grade Value: 40 points (this includes portfolio journal credit on 3/17 and 4/14)
For you final assignment, Due May 24, you are required to submit a minimum of ten new color prints, satisfying the following criteria: The photographs may be of any subject matter, but they must address a single subject. They must be a series of interrelated images. They must reflect a comprehensive vision. They must speak to a specific visual idea.
A group of photographs can be assembled in a variety of ways:
1) Subject Matter
2) Device or Style
3) Context
4) Concept
5) Theme
6) Technique and material
The portfolio must be submitted on the due date as finished prints, with each photograph rendered to the utmost of your abilities.
There is also a presentation requirement. You may choose to submit your portfolio gallery or publication style, meaning how you would submit them for scrutiny by a gallery or publisher. Professionalism counts big time!
a) each print presented in a mat and/ or sleeved
b) with title, medium, your name and other pertinent information
c) enclosed in a box or portfolio
You will also be required to speak, or write, about your work, in the same manner you might when you approach a gallery or publisher!
Criteria for grading includes the following:
Initial Presentation: On April 14 we will meet as a group to give a presentation of the subject of our final portfolios. Plan to show roughly 6 work prints/6 contact sheets to illustrate the presentation. Also be prepared to speak about your ideas and interests. (5 pts.)
Completion: as stated, a minimum of ten new prints is required to avoid losing points for completion, but there is no maximum. These images must not have appeared on any contact sheet submitted for a shooting assignment, nor an image that has been presented as a portfolio journal print. (10 pts.)
Craft: including all aspects of photo-making: negative quality (as reflected in print quality) print density, color balance, spotting, etc. Also includes consistency of these elements between your prints. Also includes Presentation: the polish of your presentation and discussion of your work. (8 pts.)
Vision: Your ability to define your visual idea and its subsequent rendering in your photographic images (5 pts.)
Individual Portfolio meetings Sign-up
April 6
April 13
April 20
April 30