teacher: kenji tachibana digital photography i. enrique – thing shot 16 slides copyright © 2003 -...

Teacher: Kenji TachibanaDigital Photography IDigital Photography I.

Enrique – Thing ShotEnrique – Thing Shot

16 slides16 slides

Copyright © 2003 - 2009 Kenji TachibanaCopyright © 2003 - 2009 Kenji Tachibana

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

SStory: Hitting the golf ball tory: Hitting the golf ball

The story is a natural forThe story is a natural foran action shot. Instead, an action shot. Instead, Enrique’s shot is a static Enrique’s shot is a static and not well doneand not well doneproduct shot.product shot.

His re-shoot missed both the action shot or even the His re-shoot missed both the action shot or even the beautiful product shot opportunities.beautiful product shot opportunities.

Enrique Example: Maximizing opportunitiesEnrique Example: Maximizing opportunities


SStaging: Action shot taging: Action shot

This could have been turnedThis could have been turnedinto an action shot by movinginto an action shot by movingthe club to a new orientationthe club to a new orientationas shown to the right.as shown to the right.

Using a slow shutter speed toUsing a slow shutter speed toadd blur to the club could have added to the moving… add blur to the club could have added to the moving…

story.story.



DDon’t Shoot: White and shiny with direct sunlight on’t Shoot: White and shiny with direct sunlight

Using direct sunlight in conjunction with a glossy white Using direct sunlight in conjunction with a glossy white and bright metal subject and bright metal subject created an impossible HDRcreated an impossible HDRchallenge. The exposure ischallenge. The exposure isnormal but the highlightsnormal but the highlightsare blocked up and theare blocked up and theshadow is very dark..shadow is very dark..

Without making lighting orWithout making lighting oran in-camera adjustments, there is no way to maintain a an in-camera adjustments, there is no way to maintain a natural looking tonal range under such extreme natural looking tonal range under such extreme conditions.conditions.



LLighting Solutions: ighting Solutions:

1.1. Cover the ‘set’ with a 4’ x 4’Cover the ‘set’ with a 4’ x 4’translucent diffuser screentranslucent diffuser screento soften the light. Theto soften the light. Thediffuser acts like a clouddiffuser acts like a cloudcover sky.cover sky.1.1. Cover the set with a white 4’x4’ light blocking Cover the set with a white 4’x4’ light blocking

material to create an ‘Open Shade’ lighting material to create an ‘Open Shade’ lighting condition.condition.

2.2. Use a white 3’ x 3’ reflector card (board) to reflect Use a white 3’ x 3’ reflector card (board) to reflect light onto the shadow side.light onto the shadow side.

3.3. For other than assignments, there is also the flash-For other than assignments, there is also the flash-fill solution…fill solution…



In-Camera Solutions:In-Camera Solutions:

1.1. Adjust the camera contrast Adjust the camera contrast setting to ‘Low’. Compactsetting to ‘Low’. Compactdigital have 3 levels ofdigital have 3 levels ofadjustments. DSLR can have up to 5 to 9 levels.adjustments. DSLR can have up to 5 to 9 levels.

2.2. If the camera has adjustments dealing with HDR If the camera has adjustments dealing with HDR issues, that is a more appropriate adjustment to issues, that is a more appropriate adjustment to make.make.

3.3. With either the in-camera contrast or HDR With either the in-camera contrast or HDR adjustments, you must test it and see the results adjustments, you must test it and see the results for yourself.for yourself.



Details Matter: RequirementsDetails Matter: Requirements

Requirements are designed to keep you out of trouble.Requirements are designed to keep you out of trouble.

n Avoid shooting white, black, or shiny objects.Avoid shooting white, black, or shiny objects.n Avoid using direct sunlight as your light source.Avoid using direct sunlight as your light source.n If you use sunlight, be sure to diffuse it to look more like If you use sunlight, be sure to diffuse it to look more like

soft skylight. Velum (tracing paper) does a decent job of soft skylight. Velum (tracing paper) does a decent job of diffusing the light without loosing too much brightness.diffusing the light without loosing too much brightness.

n Use diffuse Skylight which can be found in ‘Open Shade’ Use diffuse Skylight which can be found in ‘Open Shade’ areas. Best skylight is found during a sunny day. It’s the areas. Best skylight is found during a sunny day. It’s the blue sky component of Daylight (Daylight without the sun).blue sky component of Daylight (Daylight without the sun).

n Use fill-cards or boards to reflect more light into the dark Use fill-cards or boards to reflect more light into the dark shadow areas.shadow areas.



Histogram: Exposure graphHistogram: Exposure graph

The Histogram graph may not The Histogram graph may not look the same in both the look the same in both the camera and Photoshop. The camera and Photoshop. The difference may be mainly due difference may be mainly due to the Histogram size between to the Histogram size between the camera and a full size the camera and a full size computer monitor. And there computer monitor. And there are many other possibilities…are many other possibilities…

Enrique Example: Learning opportunitiesEnrique Example: Learning opportunities


Histogram: Exposure graphHistogram: Exposure graph

Here is a Photoshop version of theHere is a Photoshop version of theexposure graph. And it has the overexposure graph. And it has the overexposure problem marked with aexposure problem marked with ared oval.red oval.

The image also has the red circles The image also has the red circles showing the blown out areas. Some of the showing the blown out areas. Some of the better digitals have a feature called zebra better digitals have a feature called zebra striping that flashes the blown out areas striping that flashes the blown out areas of an image.of an image.



Composition: Avoid red prop?Composition: Avoid red prop?

Avoid using red on a 2Avoid using red on a 2ndnd or 3 or 3rdrd

reading element or prop. Redreading element or prop. Redis a power color and the highis a power color and the highvibrancy makes it hard tovibrancy makes it hard tonot notice.not notice.

In this case, the tee should not attract too much attention In this case, the tee should not attract too much attention since it’s only a support character in your story. since it’s only a support character in your story.



Composition: Avoid Logo and text?Composition: Avoid Logo and text?

My eyes bounce back andMy eyes bounce back andforth between the red teeforth between the red teeand the logo on the golf.and the logo on the golf.

If you’re not trying to sell the If you’re not trying to sell the golf ball and brand, try not togolf ball and brand, try not toshow the Logo on the object.show the Logo on the object.

If you show the Logo, its orientation represent a horizon If you show the Logo, its orientation represent a horizon line. And leveling, or slanting the Logo becomes a major line. And leveling, or slanting the Logo becomes a major issue. Avoid those considerations if you’re just shooting issue. Avoid those considerations if you’re just shooting for yourself… please discus these ideas…for yourself… please discus these ideas…



Composition: Optical centerComposition: Optical center

The logo placement looks sloppy. If youThe logo placement looks sloppy. If youmust show the logo, a good position must show the logo, a good position would be the optical center as shown towould be the optical center as shown tothe right.the right.

The same rule applies when centering The same rule applies when centering the subject on the canvas. If you must center the subject, the subject on the canvas. If you must center the subject, position it slightly above the vertical center as shown in position it slightly above the vertical center as shown in the same example image.the same example image.



Composition: 1/3 x 2/3Composition: 1/3 x 2/3

Position the subject so that thePosition the subject so that thebackground is divided into 1/3 xbackground is divided into 1/3 x2/3 as dotted line indicated to 2/3 as dotted line indicated to the right. the right.

Notice also that my dotted lineNotice also that my dotted linereframing has been re-shaped into the assignment required reframing has been re-shaped into the assignment required 4:3 shape.4:3 shape.



Composition and Staging: Add the potential of movement…Composition and Staging: Add the potential of movement…

For the swinging club shot, IFor the swinging club shot, Iwould have wanted the swing would have wanted the swing to come from a different angleto come from a different angleas shown. This would haveas shown. This would havemade a more dynamic golfing made a more dynamic golfing story.story.



Consider: All the possibilities Consider: All the possibilities

Think of the previous ideas presented not necessarily Think of the previous ideas presented not necessarily right or wrong but as “playing with ideas”. Thinking of right or wrong but as “playing with ideas”. Thinking of getting the most out of the current situation or scene.getting the most out of the current situation or scene.

What would make it right or wrong depends on your What would make it right or wrong depends on your story idea. For instance, the logo might have been story idea. For instance, the logo might have been rotated to suggest movement. And the specific angle rotated to suggest movement. And the specific angle would have suggested the direction of that would have suggested the direction of that movement. And that way of thinking is about telling a movement. And that way of thinking is about telling a story using visual clues.story using visual clues.



Art: Not science Art: Not science

There are rudimentary rules of composition. Although, There are rudimentary rules of composition. Although, photographic design is more an art. The art of:photographic design is more an art. The art of:

• Balance to imbalanceBalance to imbalance• Symmetry to asymmetrySymmetry to asymmetry• Dynamic movement to frozen action Dynamic 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 – Welcome 7, Week 4 – CompositionComposition

Teacher: Kenji TachibanaDigital Photography IDigital Photography I..

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teacher: kenji tachibana digital photography i. enrique – thing shot 16 slides copyright © 2003 -...

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