Photography Classes @ MERHS

Photo Portfolio Assignments

 

Photo Portfolio Overview

 

*Remember, assignments are due every day 4.
*Remember, each day starts with a Daily X before moving into Studio Time

YouTube Preview Image

DAILY X: found here

ADVANCED TECHNIQUE TUTORIALS: found here

 

Focusing on becoming a better photographer and building your portfolio comes first, but you can always participate in the Photo 3 activities/critiques/Daily X as well. You will be reflecting, self-assessing, and working on a different skill each 7 day cycle. Then you will concentrate on learning how to be a working artist and a better photographer.

 

Unit 1

  1. Plan your first own personal project.  You should spend at least 4 weeks on one idea before moving to something else.
  2. Start with CM Pro rubric – assess yourself, make a plan to get better, then get better
  3. Exposure Triangle (Aperture, Shutter Speed, ISO) MINIMUM SCORE OF 4 REQUIRED
  • Exceptional (6) Flawless, creatively correct exposure. Aperture, shutter speed and/or ISO are used variably and for artistic effect. Masterful handling of exposure in challenging light.
  • Experienced (5) Excellent exposure on virtually all images Usually manages exposure well in challenging light.
  • Capable (4) Consistently good exposure choices in simple lighting situations. May struggle with challenging lighting conditions (occasional blown highlights/shadows)
  • Developing (3) Many images slightly off (by 1/3 – 2/3 stop) in simple lighting situations. Poor control in more difficult lighting situations (backlight, low light, hard/high contrast light)
  • Emerging (2) Images frequently underexposed and/or overexposed. It appears the photographer is manually controlling exposure on some level (manual exposure mode, semi-auto mode, AE-lock, spot metering, etc)
  • Beginning (1) Image exposure is all over the map and doesn’t appear to be managed/controlled by the photographer at all (standard auto and matrix/evaluative metering)

 

Unit 2

  1. Turn in your own project photos. Write reflective piece in your google doc folder.
  2. Continue with next part of rubric. Assess yourself, make a plan to get better, then get better
  3. Color & White Balance Because color and white balance considerations are generally inapplicable to photographers with only black & white portfolios, and because tonality is central to black & white work, the “Use of Light” score will be doubled in place of the score for color when a portfolio contains only black & white images.
  • Exceptional (6) Remarkably beautiful skin tones. Color tones are constant across different lighting conditions. Deliberate and consistent choices with color and white balance. (Applicant must demonstrate these choices are intentional, consistent, and contribute to story or mood.)
  • Experienced (5) Skin mostly accurate, but when it’s not, it does not detract from image integrity. Color tones/white balance constant the majority of the times. Manages mixed lighting and reflected light well.
  • Capable (4) Global white balance and/or skin often appear slightly (but consistently) cool, warm, or tinted. May have occasional color issues such as reflected color or shadow undertones.
  • Developing (3) Apparent effort to choose an accurate WB. Skin tones vary from shoot to shoot. Significant struggle with reflected color, shadow color, and mixed lighting.
  • Emerging (2) WB may vary in a single shoot. Color is occasionally grossly inaccurate.
  • Beginning (1) Noticeably poor color. Inconsistent color tones throughout the portfolio. Varying WB from image to image – it’s clear the applicant is not aware of or choosing the white balance (WB) setting (no corrections for shade, etc.)

 

Unit 3

 

  1. Turn in your own project photos. Write reflective piece in your google doc folder.
  2. Use of Light
  • Exceptional (6) Remarkably beautiful use of light. Depth and dimension in every image. Lighting used effectively for mood or narrative impact.
  • Experienced (5) Most images have contrast and depth. Light often contribute to the story and/or mood. Subjects are consistently well lit.
  • Capable (4) Effectively brings light into the eyes (catchlights). Showcases a variety of lighting. Occasionally flat lighting. **NOTE: using light in a variety of ways does not necessarily require a variety of light sources. In the case of studio light, for example, it can be the same light source used in different ways and for different purposes in making images.
  • Developing (3) No significant exposure issues, but light is often flat and even. Experimentation with varied lighting shows little control (evidence of blown highlights or clipped shadows) Eyes sometimes lack catchlights.
  • Emerging (2) Most images lack contrast and dimension. Frequent shadows in/around the subject’s eyes. Frequently blown highlights or clipped shadows.
  • Beginning (1) Little indication of awareness of light. Frequent shooting in full sun, mixed lighting or inadequate light without managing these difficult situations well. Poor exposure. Reliance on onboard flash.

 

Unit 4

  1. Turn in your own project photos. Write reflective piece in your google doc folder.
  2. Research posing seniors
  3. Composition & Posing
  • Exceptional (6) Powerful use of compositional devices and design elements. Outstanding balance within the frame. Purposeful and effective choices with compositional rule breaking. Composition enhances the story or mood being conveyed. Posing is clearly deliberate and designed to both flatter the subject and advance the story.
  • Experienced (5) Frequent incorporation of color, line and shape as design elements. Purposeful inclusion of all elements within the frame. Subjects are posed well with specific placement within the frame. No unintentional limb chops or awkward chops. Connection between subject and viewer.
  • Capable (4) Occasional use of triangles, leading lines, and other compositional devices. Consistent use of the rule of thirds. Posing is usually well thought out and flattering to the subject. Few careless limb chops or awkward chops. Occasionally distracting elements within the frame.
  • Developing (3) Occasional use of the rule of thirds. Starting to see a connection between subject and viewer Some careless limb chops/awkward chops and/or poor subject placement.
  • Emerging (2) Similar poses and compositions used throughout the portfolio. Mostly centered compositions. Emotionless, awkward, or disconnected subjects.
  • Beginning (1) Abundance of extremely tight, vertical images. Frequent careless limb chops (chops at feet, wrists, hands, etc.). No clear intention with regards to where the subject is placed in the frame. Horizons/gravity line often placed in the middle of the frame.

 

Unit 5

  1. Turn in your own project photos. Write reflective piece in your google doc folder.
  2. Processing Cohesion & Polish
  • Exceptional (6) Processing is flawless and remarkably beautiful. Processing contributes powerfully to the photographer’s overall style and vision.
  • Experienced (5) Black and white images have depth and dimension. Color tones are attractive and effective. Images are usually consistent in style or are deliberately varied for effect. Nothing is overdone (appropriate sharpeness, excellent contrast, etc.).
  • Capable (4) Processing is clearly identifiable by commercial actions or presets. Processing may lack richness/depth/dimension. Processing may not be consistent in style across images, but it is solidly executed.
  • Developing (3) Lack of refinement in processing yields out of gamut color, local noise, or artifacting. Local adjustments poorly executed (noticeable haloing, smoothing beyond skin, etc.). Some oversharpening and/or blown channels. Notably inconsistent color and tonality throughout the portfolio. Monochrome processing is frequently muddly or has excessive contrast.
  • Emerging (2) Mix of SOOC images and images that are overprocessed. Several types of processing in one session or gallery. Images oversharpened. Obvious vignettes. Skin is oversaturated. Color out of gamut or channels blown.
  • Beginning (1) Images appear to be SOOC. No color, contrast or sharpening adjustments.

 

Unit 6

  1. Turn in your own project photos. Write reflective piece in your google doc folder.
  2. Technical Basics (Focus, Varied DOF, etc.)
  • Exceptional (6) Perfect focus, sharpness and clarity. Appropriate and varying depth of field from image to image. Focus and DOF used as an element of storytelling.
  • Experienced (5) Consistently accurate focus. Some use of creative (de)focus or DOF as an element of storytelling.
  • Capable (4) Frequently accurate focus. Occasionally has insufficient DOF to keep critical elements in focus. May not effectively isolate subjects with focus (excess depth of field).
  • Developing (3) Occasional slipped focus (shoulder, nose or ear, etc. rather than the eye). Often has insufficient DOF to keep critical elements entirely in focus.
  • Emerging (2) May experiment with DOF but frequently misses point of focus.
  • Beginning (1) Extended DOF (f/8 – f/11) as a rule. Primarily center focus (and center compose as a result).

 

Unit 7

  1. Turn in your own project photos. Write reflective piece in your google doc folder.
  2. Is photography art https://vimeo.com/24567235
  3. Creativity, Expression & Intention
  • Exceptional (6) Style is distinctively identifiable as belonging to the photographer and could not be mistaken for the work of another. Images elicit an emotional response. Images inspire and captivate.
  • Experienced (5) Images demonstrate clear vision, purpose and style. Images may not consistently yield an emotional reaction.
  • Capable (4) Images generally showcase creativity and thoughtfulness but lack a consistent style or unifying facets across the portfolio. Some images indicate a creative experimentation that, while interesting, is also discordant with the rest of the portfolio.
  • Developing (3) Images adequately capture the subject at hand but do not suggest personal vision or unique perspective.
  • Emerging (2) Images show effort and may impress the average viewer but are unlikely to be impressive to other photographers. Approaches may seem cliche to more experienced photographers.
  • Beginning (1) Causal snapshots unlikely to impress the average viewer

 

Unit 8

  1. Turn in your own project photos.
  2. business, insurance, rates
  3. pricing fine art photos
  4. selling fine art online

 

Unit 9

  1. Turn in your own project photos.
  2. Investigate portfolio needs at several schools (art schools and regular)
  3. start grouping together your images in several different ways

 

Unit 10

  1. Create an online artist portfolio here or here or here or here
  2. One way to look at a portfolio as a whole:

Cohesiveness

    • Cohesive means there is something that ties all your images together – there is a common thread that runs through the portfolio as a whole. When a body of work is cohesive the portfolio is unified and every image feels well integrated within that. The panel is looking for your voice and/or intention to come through in your images. At the “exceptional” end of the scale, the maker’s voice/intention is so clear these images are instantly recognizable as being made by that photographer; the work is cohesive and flows seamlessly from image to image.

Variety

    • In order to demonstrate a solid understanding of photography, your portfolio will need to showcase what you can do. Are you using light in different ways (soft frontal, backlight, rim light, side light, mixed light, etc.) or do you use light the same way over and over again? When you compose your images, do you vary the placement of elements in the frame or compose to further the story? Are there different subjects and/ or locations in your portfolio? The panel only has 150 images to figure out what you can do, so make sure you show them.

Consistency

    • Often confused with cohesiveness, consistency means your work demonstrates that you can get repeated results. In other words, a consistent body of work is one that showcases you can use backlight, for example, in more than one image, and you can do it well. The panel wants to see repeated results to ensure you have mastered a level of proficiency in the category they are evaluating. If you consistently get great skin tones, but you have one or two images where they are not as good, the panel will consider the less accurate tones as an anomaly. If you only show a single backlit image you are not showing that you are able to work with that lighting scenario all the time and the panel will have to assume that one example is an exception. Consistency can also demonstrate a lack of proficiency. Perhaps you consistently cut off your subject’s toes or consistently miss focus. Both those items indicate more work needs to be done in composition and focus, even though there might be one or two (or several) images where the toes are intact and the focus is spot on.

 

Unit 11

  1. video portfolio as final
  2. lartigue: https://vimeo.com/95293695

 

What level photographer are you?

 

Beginning (1-7 points): A beginning photographer is one who relies primarily on their camera to make most of the technical decisions. As such there will be frequent examples of under and over exposed images as well as noticeably poor color, skin tones and white balance throughout the portfolio. The photographer typically relies on full sun (shooting with the sun over their shoulder) or the onboard flash and, as a result of this, often the subject’s faces are not well exposed. Images are rarely finished in an image editing software, resulting in a portfolio filled with images lacking color correction or sharpening in post. Focus is almost exclusively center of the frame, and aperture is usually extended (f/8 – f/11).The subject of the photograph almost always appears in the center of the frame, placed carelessly without obvious intention, and there is an abundance of tight, vertical compositions and frequent careless limb chops. For the most part, the images in this portfolio would be characterized as snapshots with little artistic value.

 

Emerging (8-14 points): An emerging photographer, while still relying on the camera’s auto settings, is starting to explore the camera’s non-automatic settings more. This photographer may also be starting to explore metering options beyond matrix/evaluative. The emerging photographer’s portfolio will show varying white balance in a single session, and color will occasionally be grossly inaccurate. Based on emerging understanding of how to use light, images have little contrast or dimension and the subject’s eyes are frequently in shadow. There are also frequent examples of blown highlights and/or clipped shadows. When composing images, the emerging photographer often uses the center focus point and, therefore, has the subject in the center of the frame. There is generally a disconnect between the subject and the viewer and an abundance of similar poses and compositions throughout the portfolio. Emerging photographers are experimenting with post production on occasion and the portfolio contains a mix of SOOC images and over processed images. Often images are over-sharpened with heavy vignettes, and colors are out of gamut or channels are blown. There may also be several different types of processing in one session or gallery. While there may be evidence of experimentation with different apertures (depth of field), focus will often slip at these wider apertures. Overall, the emerging photographer’s images show effort and may impress the average viewer, but will not impress other photographers or visually literate viewers and the approach may be considered cliché by more experienced photographers.

 

Developing (15-21 points): A developing photographer is taking more control of their camera settings and has started to grasp the concepts of the exposure triangle. Many portfolio images are slightly off (by 1/3 – 2/3 stop) in simple lighting situations, and there poor control in more difficult lighting scenarios like backlight or hard light. This portfolio demonstrates an apparent effort to choose an accurate white balance, but skin tones vary from shoot to shoot and there is a significant struggle with reflected color, shadow color and mixed lighting. There are no significant exposure issues, in flat, even light. While there is some experimentation with varied light, there is evidence of blown highlights and/or clipped shadows. When working with people, the subject’s eyes sometimes lack catchlights. Developing photographers are showing occasional use of the rule of thirds, placing the subject is in the center of the frame less often. There are some careless limb chops/awkward chops and/or poor placement in the frame, and we are starting to see a connection between the subject and the viewer. Processing is unrefined, with examples of skin smoothing extending into the hairline, oversharp eyes, obvious haloing, out of gamut color, local artifacting and/ or noise. In general, processing is inconsistent throughout the porftolio. There will be examples of variety in terms of depth of field, but that choice will often be insufficient to keep relevant details in focus and focus will frequently have slipped to the shoulder, nose or ear rather than the eyes. In general, the developing photographer produces nice, safe images that adequately capture the subject, but do not suggest personal vision or a unique perspective.

 

Capable (22-28 points): The capable photographer exhibits an understanding of their camera and frequently uses semi-auto or manual settings, thereby making consistently good exposure choices in simple lighting conditions. This photographer may struggle with challenging lighting scenarios and there are occasional blown highlights and clipped shadows. Throughout the portfolio, white balance and/or skin tones often appear slightly but consistently cool, warm, or tinted and there are occasional issues with reflected color or shadow (cool) undertones. We see nice catchlights and the portfolio showcases a variety of lighting, with an occasional use of flat lighting. When composing their images, the capable photographer is starting to use triangles, leading lines and other compositional elements beyond the rule of thirds, but the rule of thirds is still used consistently. Posing is generally well thought out and flattering to the subject and there are few careless limb chops. While processing has become more refined, it may not be consistent in style and it is apparent the photographer is using commercially available actions or presets. Overall, processing may lack richness and/or punch. The capable photographer is frequently accurate with their focus, but the DOF may not be sufficient to keep critical elements in the frame and/or may not effectively isolate the subject. Overall, the capable photographer’s portfolio is filled with good images that show creativity and thoughtfulness, but still lack consistently or a unifying voice across the entire portfolio. Experimentation, while interesting, is discordant with the larger body of work.

 

Experienced (29-35 points): The experienced photographer demonstrates excellent exposure decisions on virtually all images with no apparent struggle when working in challenging light. Color, skin tones, and white balance are accurate the majority of the time, and when not accurate they do not detract from image integrity. Images made by the experienced photographer consistently have contrast and depth resulting from a good understanding of light. Light is also used in a way that contributes to the overall story/mood of the image, and subjects are consistently well lit. Composition is used to guide the viewer into and through the image, with frequent use of color, line, and shape as a design element. Subjects are posed deliberately within the frame, and we see a connection between the subject and the viewer. Processing is refined with depth and dimension in black and white images while color tones are attractive and effective. Images are appropriately sharp and nothing is overdone. Images are consistent in processing style or are deliberately varied for effect. Focus is consistently accurate and there is some used of creative (de)focus and DOF as an element of storytelling. In general the images found in an experienced portfolio demonstrate clear vision, purpose and style and frequently elicit an emotional response from the viewer. These images are widely regarded, by both layperson and other photographers, as better than average in every way

 

Exceptional (36-42 points): The exceptional photographer demonstrates advanced skills across all areas of image making. They clearly understand the exposure triangle and make consistent, deliberate exposure decisions that contribute to the artistic effect of the image as well as for the purpose of exposure. Skin tones are remarkably beautiful while color tones are constant across different lighting conditions. There will likely be examples within the portfolio where color and white balance have been used deliberately to set a mood (for example a green undertone across a series of images). This portfolio will also show a remarkably beautiful use of light leading to depth and dimension in every image. Light is often used for narrative effect and/or mood. Compositionally, this portfolio shows a powerful use of compositional devices and design elements. The photographer intentionally composes their images to further the story, sometimes choosing to break the rules when the mood/story calls for it. Posing is clearly deliberate and designed to also advance the story. Processing is used to enhance the strengths of these images, flawlessly adding to the overall vision the photographer wishes to communicate. Focus is consistently sharp and accurate and is often used as a vehicle to tell the story; depth of field varies depending on the intention and is used as a tool to set the mood. An exceptional photographer stands out in the crowd with imagery clearly identifiable as their own. Their images consistently evoke an emotional response while also inspiring and captivating the viewer. The exceptional photographer is considered a master in the art and craft of photography.

 

In great debt to the wonderful CM Pro Rubric made by the CM photography website. Please check out their amazing online classes, forums, and tips.

 

 

OLD Syllabus/Assignments: (ignore this year)

 

 

1) First assignment is Shooting Square or shooting for a circle, like Laura Bell

 

2) Then come up with a concentration for your images.
-You will work on this theme for at least four weeks. At that point, you can pick another.
-You will be working on self directed projects for the rest of the semester.
-You will turn these photos into the folders on the Y drive these and posting them on this site.
-You will also be critiquing every week in the larger multi-level group and also among your smaller Photo Portfolio peer group.
-Some resources for picking concentrations can be found in this list or this blog post or this site and this infographic

 

3) For each week when you post your photos on this site, make sure you answer the following in GREAT DETAIL AND DEPTH:  

  • Write a reflection REALLY describing your thought process behind taking the photos and why you shot what you shot. Be descriptive.
  • Also describe the difficulities and successes that you had while coming up with the idea and shooting it.
  •  The third thing you must write about is a self critique of how it looks and what it means. Pretend someone else took the photo and be as honest and possibile in your critique.
  • Finally write where you plan to go next with the project, or what project you plan to do next. Please describe it so someone who doesnt know you or have a conversation with you about your work will understand what you are doing.
  • MAKE SURE YOU ARE CHOOSING THE RIGHT CATEGORIES IN WORDPRESS!

 

WEEKLY EXTRA OPTIONS:

 

 

  •   REFLECTION POST: write the following in a word doc based on the photos you turned in this week
  • Write a reflection REALLY describing your thought process behind taking the photos and why you shot what you shot. Be descriptive.
  • Also describe the difficulties and successes that you had while coming up with the idea and shooting it.
  •  The third thing you must write about is a self critique of how it looks and what it means. Pretend someone else took the photo and be as honest and possible in your critique.
  • Finally write where you plan to go next with the project, or what project you plan to do next. Please describe it so someone who doesnt know you or have a conversation with you about your work will understand what you are doing.

 

 

  • Create a Pinterest board with images that inspire you for your current shooting project and post the link to the board on the blog. You must spend a good amount of time really curating the best images into a useful group of images. YOU CAN ONLY DO THIS FOR ONE WEEK AS YOUR WEEKLY EXTRA TO TURN IN, tho you can always add to it during your own time or when you have finished everything in class.

 

TURNED IN YOUR PHOTOS AND DONE YOUR WEEKLY EXTRA AND STILL HAVE TIME?

  • Help Photo 1 and 2 students with Photoshop
  • Help another Photo 3 or IS student with their work
  • Have a 1 on 1 critque with another Photo 3/IS classmate
  • Work on writing an artist statement
  • Make an art project out of your photos
  • create an online artist portfolio here or here or here or here
  • Work on creating a Blurb book
  • Help Ms. Epp curate and display artwork
  • Explore any of the websites listed in the weekly extra assignments above

WHAT TO NEVER DO:

  • Homework for another class
  • Computer games, non class websites, or Facebook/Youtube, etc
  • Text or be on your phone in any way
  • Waste time

 

 

 

 

Getting your Scholastic Art Portfolio ready:

  • Guidelines: PHOTOGRAPHY PORTFOLIO (FOR GRADUATING SENIORS)
  • A body of the student’s best eight photographs that demonstrates a high level in originality, technical skill and personal vision. Includes photography ONLY.ALL eight works must be photographs; otherwise, it must be submitted as an Art Portfolio. Please carefully review the Photography Category description, examples, and special instructions to determine whether all of the works fit this criteria.
  • In addition to the photographs, students must submit an Artist Statement: In 300 to 750 words total, answer the following questions:
    • Why did you select the work you submitted for your Photography Portfolio?
    • How do you hope people will react when they look at your work?
    • What role does photography play in your life?
  • Seniors may resubmit photographs that may or may not have won in previous Scholastic Awards as part of their Photography Portfolio.

———————————————–

The following is a Concentration Caution List from Santa Monica High School. Read it and think about it when you are coming up with your self directed projects.

In 2007, over 30,000 AP portfolios were graded in one week. After viewing hundreds of portfolios, it is easy to spot recurring themes. Below is a list of very popular subjects for concentration. There is not a taboo on the following subjects, but a warning that they have been done OVER and OVER. It would be easier to find a new topic rather than find a completely new way to address these tired, overused concentrations. Be creative: think of something specific and unique. If you must use the following ideas, find an exceptional, distinctive approach to them.

PROCEED WITH CAUTION ON THE FOLLOWING TOPICS:

  • portraits of emotions
  • people who shape me
  • nature
  • memories
  • shocking viewers with bizarre
  • surrealism
  • faces
  • flowers
  • eyes
  • family and friends
  • reflective gears
  • illustration of inner thoughts
  • moments I was happy
  • self portraits
  • music
  • everyday life objects
  • goddess/myth
  • “different cultures”
  • guitars
  • reflections
  • “ideas of beauty”
  • dance

EXCELLENT CONCENTRATIONS WERE DONE ON THE FOLLOWING TOPICS:

  • a cross country meet
  • construction
  • road trip across the United States
  • rear view mirrors
  • glamorized 1940s jewelry
  • barriers
  • members of my family through portraits of their feet
  • old fashioned circus
  • porches in my neighborhood
  • fashion and heavy machinery in rural Vermont
  • smaller than normal size


Choose any 2 works to write about
2. 500 Total words (minimum)
3. Give Title, name of artist, date, materials, as provided.
4. Brief description of the work – use words discussed in class when referring to art elements: line, value, color, contrast, composition, etc.
5. Personal Response –Why did you choose the works? Do you like or dislike the works? Why?
6. What do they mean to you?
7. Summation

Comments

Be the first to comment.

Leave a Reply