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COURSE CODE: AIO-PHOA232 Portraiture Milestone 2

Milestone 2: Student Portrait

Learning Path

Milestone 2 Overview

Milestone 2 Learning Activities

Typography of the Face

The Changing Expression

Posing or Framing

Key, Fill, Hair, Edge, and Background

Using Color or Black and White

Key, Contrast, Filters, and Depth of Field Exploring Photography: Finding the Perfect Portrait Lens with Chris Orwig

Summary

Textbook: Light and Lighting

Textbook: Composition and Context

Milestone 2 Task 1: Instructions

Milestone 2 Task 1: Post Here

AIO-PHOA232 | Portraiture 1

Melanie Fiander, 06/21/18,

New LA

NIIT, 12/11/17,

Textbook Title: “The Portrait Photography Course: Principles, Practice, and Techniques: The Essential Guide for Photographers”Author: Mark Jenkinson


Due <Week 2, Day 3> Milestone 2 Submission: Instructions

Milestone 2 Submission: Post Here Due <Week 2, Day 7>


Sauer, Damon A., 06/21/18,

I only think this works if we are really pushing students towards revision. I know that is the idea, but there is going to be natural resistance from students when there are these kinds of logistics involved. So perhaps the Milestone language should be shifted even further to an expectation of revision. And, the planning template should be structured for two shoots (initial shoot, revision shoot).Otherwise, I think students will be under a lot of pressure to complete the initial shoot and then not revise the work (either because of motivation or simply because they can’t manage the logistics) for the milestone which might create a negative experience. The uncertainty of not knowing if they will be required to revise will leave too much in the air except for the most motivated students.Due date remains as is in compliance with Doug & Mary’s suggestions. MF on 6.21.18


Due date adjusted par Doug’s request; changed from Day 4 to Day 3


Milestone 2 Overview

Milestone 2: Student Portrait

A face—we all have one and we have our own likes and dislikes about our face too. What you like about someone's face, they may not. When you look at your own face, you begin to realize how three-dimensional it is. A nose that sticks out, eyes that sink in, small or large ears, and that forehead you could write on. Then, the smile breaks and everything moves. The face is a landscape that changes with every thought. At the moment, the photographer snaps a portrait, the face conveys a glimpse of emotion, and sometimes, an entire life. Keeping this in mind, you will create images shot both in the studio as well as in an environment of a model posing as a student. who attends Bowenhouse College.

What You Will Learn

When you successfully complete this milestone, you will be able to:

Analyze and take a close look at facial features. Plan on how to approach lighting for those features.

You will complete…

Learning Activities Typography of the Face The Changing Expression Posing or Framing Key, Fill, Hair, Edge, and Background Using Color or Black and White Key, Contrast, Filters, and Depth of Field Summary

Required Readings

From your course textbook, The Portrait Photography Course: Principles, Practice, and Techniques: The Essential Guide for Student Photographers, read the following chapters:

Light and Lighting (pp. 66–77) Composition and Context



This reference should be removed as in other milestones, this should be limited to the scenario communication (was removed in M3 – I would suggest the same treatment here)-Completed; thanks for catching this! - MF

NIIT, 05/31/16,

Note for DCEH: We will insert milestone overview video here.


Task 1: Studio vs. Environment: Student PortraitPhotograph a student (a new male or female model) attending Bowenhouse College. Your portraits will be taken both in a studio and in an environment. Work two of your studio lights with the strobe setting: a key and a fill light. Also, work towards a soft lighting effect with a 1:1 or 2:1 light ratio. Throughout the task, you’ll be adjusting your focal length and composition.

Contact Sheet Proof Sheet of 4 Top Images Signed Model Release

REQUIRED 120m

Milestone 2 Submission

Revise the previously submitted artifacts in Milestone 2 Task 1. Also, submit a 300-word Milestone Report discussing your planning strategies for Milestone 2 Task 1and the challenges faced. Discuss your approach to lighting, composition, light ratio, and use of props and/or wardrobe. Additionally, discuss your plans for the next photo shoot (Milestone 3 Task 1); comment on where your shoot will take place, the lighting requirements, props, wardrobe, and who will be the model. Along with this initial plan, be prepared to have a “Plan B” and a “Plan C,” and also refer back to your Project Template.

Revised Contact Sheet Revised 4 Top Images in Proof Sheet Revised Signed Model Release Milestone Report

REQUIRED 120m



Added

Mary Yates, 05/23/18,

Proof sheet PDFS-Adjusted on 5.23.18 - MF


I think this is confusing here. We should describe this differently than in the scenario communication so there is not confusion that this is fictional college and part of the “role play”.Doug had asked me to create a fictional college vs. noting a “local college”. The fictional school is discussed in the Milestone 1 Overview & the course overview video. What are your thoughts? – MF on 5.23.18


Milestone 2 Learning Activities

Review each learning activity by selecting the Next button. It is recommended that you review the activities in order, beginning from Learning Activity 1, before completing your tasks.

Required Activities

[1.] TopographyTypography of the Face

Understand that good portrait photography is more than just recognizing the shape of the face and its features; it's how you, as the photographer, approach it with your lighting and posing.

READING 10m

Image/Icon related to the topic.

1.[2.] The Changing Expression

Learn the importance of understanding human facial expressions for successful portrait photography.

READING 10m


2.[3.] Posing or Framing

Understand that the way in which you pose your subject either creates a flattering or a non-flattering image. The same can be said for how you choose to frame your subject within the camera.

READING 10m


3.[4.] Key, Fill, Hair, Edge, and Background

Learn the importance of working with multiple strobe lights such as the key, fill, hair, edge, and background lights and how it can affect your portrait.

READING 10m


4.[5.] Using Color or Black and White Image/Icon related to the AIO-PHOA232 | Portraiture 5

NIIT, 05/03/18,

(AI_PH222_W2_L5_S1_G1.swf)

NIIT, 05/03/18,

(AI_PH222_W2_L4_S1_G1.jpg; AI_PH222_W2_L4_S1_G2.jpg)

NIIT, 05/03/18,

(AI_PH222_W2_L3_S1_G1.jpg)

NIIT, 05/03/18,



All LAs in the course require some kind of media – video, MGFX, tutorial, or imageMedia has been planned for all LA’s – MF.


Realize that bright colors that naturally exist in your image will help to tell a story well. If you decide to mute them or go black and white, it should be with great specific reason.

READING 10m

topic.

5.[6.] Key, Contrast, Filters, and Depth of Field

Know that the decisions you make regarding key, contrast, filters, and depth of field will affect the final portrait.

READING 10m


6.[7.] Exploring Photography: Finding the Perfect Portrait Lens with Chris Orwig

https://www.lynda.com/Cameras-Gear-tutorials/Finding-Perfect-Portrait-Lens/182035-2.html?srchtrk=index%3a1 linktypeid%3a2 q%3aFocal+length,+distortion,+and+compression page%3a1 s%3arelevance sa%3atrue producttypeid%3a2

Course from Lynda.com

https://www.lynda.com/Cameras-Gear-tutorials/Finding-Perfect-Portrait-

Lens/182035-2.html?srchtrk=index

%3a1%0alinktypeid%3a2%0aq

%3aFocal+length%2c+distortion

%2c+and+compression%0apage%3a1%0as%3arelevance%0asa

%3atrue%0aproducttypeid%3a2

7.[8.] Summary

Look back at many photographic approaches to creating a portrait, such as typography of the face, expressions,



NIIT, 05/03/18,

AI_PH222_W2_L7_S1_G1.swf

NIIT, 05/03/18,


https://www.lynda.com/Cameras-Gear-tutorials/Finding-Perfect-Portrait-Lens/182035-2.html?srchtrk=index%3A1%0Alinktypeid%3A2%0Aq%3AFocal+length%2C+distortion%2C+and+compression%0Apage%3A1%0As%3Arelevance%0Asa%3Atrue%0Aproducttypeid%3A2




posing and framing, lighting, editing, and the use of color or black and white.

READING 2m

Required Readings

From your course textbook, The Portrait Photography Course: Principles, Practice, and Techniques: The Essential Guide for Student Photographers, read the following chapters:

Light and Lighting (pp. 66–77) Composition and Context

Topography Typography of the Face

Good portrait photography is more than just recognizing the shape of the face and its features; it's how you, as the photographer, approach it. Your approach with lighting and posing will either accent or minimize that big nose. This is also true for a subject who has one eye larger than another. Our faces are not symmetrical and your choices will either exaggerate or minimize (flatter) these features.

As you try to become aware of your subject's unique traits, it is important not to stare and to be careful with your words. Your sitter is greatly aware of those features you are just now discovering. Look for the features that you will want to flatter. For example, one side of the face may be broader than the other, one eye may be larger than the other, or the nose may be large or crooked. The goal should be to attain balance and symmetry while accurately and respectfully depicting the subject.



This seems like a strange title. Perhaps this was a typo… was “topography” intended here?Adjusted; MF on 6.21.18


The Changing Expression

Understanding human facial expressions is integral to successful portrait photography. It is important to know and understand expressions beyond just happy or sad, as these are expansive and sometimes have a subtle variety. The greater your knowledge of these emotions and their resulting expressions, the more clearly you can express to your subject what emotion, and therefore, what facial expression you are trying to capture. As a photographer, your understanding of expressions will better equip you to capture these expressions on your subject.

Posing or Framing

Typically, a headshot is a photograph that frames the subject in a vertical frame, leaving some space above the head and to either side of the shoulders. The bottom of the photo ends just at the collarbone. Traditional portrait photography is either shot or cropped to an 8 × 10 aspect ratio. This is not native to 35 mm cameras. The bottom of the image will be further down the body, usually ending at an unflattering place. It is not a requirement to shoot vertically; many strong portrait headshots have been made in a horizontal frame. If you choose to shoot vertically, it is best to give some extra space around your subject for cropping later.

A major consideration in headshots is the intended end use. If the photo is to be used in a press release or announcement, then a large, extremely toothy grin may be over the top. Ask how the photo will be used, then look for similar examples. Newspaper, magazine, and book covers are often a good place to start. If you arrange your subject with shoulders square to camera and head straight, the subject may look bored and stiff; a slight body angle to the camera and a tilt for the head and shoulders will help.

It is also important to consider hand and arm posing for headshots. Hands should look natural no matter how they are placed, and the wrists should never appear limp. If the subject is holding a prop, direct him or her to use a relaxed grip. Hands holding anything too tightly will look strained. Watch that the subject does not spread his or her fingers too widely, as this is distracting. The longest line of the hand is from the wrist to the tip of the pinky finger; so, when possible, photograph with this side toward the camera. This pose is great for women, as it will



create a longer and feminine finish. Surprisingly, this pose will also work for men without appearing too feminine.

When the shoulders are tilted and the head tilts towards the higher shoulder, it is a feminine head tilt. The opposite positioning, tilting the head toward the lower shoulder, is known as masculine head tilt. The direction of the head tilt can have a large impact on the look of the portrait. It is a good practice to keep a male subject in the masculine tilt. Usually, you will want to use feminine head tilt for female subjects, but for a female executive portrait or for other powerful women, it may make sense to use masculine head tilt. For both male and female subjects, you must watch while posing the head for a double chin.

Turning the shoulders clockwise will help narrow and balance broad shoulders. If you think ahead for which direction you want the subject to sit or turn toward, then setting your lights for that pose will be quicker and easier. Preplanning like this will allow your shoot to run more smoothly and give your subject greater confidence in your abilities. For this reason, it is important that your studio be set up before the client arrives. Slight adjustments can be made as needed during the shoot, but the set up should be complete before the shoot begins.

Key, Fill, Hair, Edge, and Background

So far, we have only mentioned one light, the one creating the patterns covered in Milestone 1. That is the key light. The fill light is any other source used to brighten the shadows on the face created by the key light. It can be a reflector, soft box, or umbrella. Reducing shadows is one way to help flatter the skin and face and retain subtle details in the image.

A hair light comes from above and generally slightly behind your subject to highlight the hair and separate the subject from the background. Outside, this could be the sun in relationship with a flash and/or shiny reflector.

Edge lights come from behind the subject and off to the sides creating separation and an edge of light around them. These are also sometimes called rim lights. Soft boxes and umbrellas work well for this.

Background lights are the lights used to brighten any background in the photo. The background



light faces the canvas or area behind your subject to brighten it and does not affect the exposure of the front of your subject.

As the photographer, you are the artist, and therefore, you create the mood and emotion in the photo. Generally, this starts with tone and contrast. Heavy shadows, deep skin tones, and dark wardrobe will set a very different mood than bright, fully lit photos. Scary, serious, or powerful emotions might best be lit with heavy tones, while happier emotions are best conveyed with lower contrast and brighter images.

Traditionally, soft light was equated to soft, pleasing, and sometimes romantic moments. In contemporary portrait, the hard light has become very popular for creating any mood or tone. The amount of contrast between the high light and shadow greatly influences the mood and tone of the finished portrait. There isn't a common rule about using either, so it's most important to understand how each source shapes the face and influences viewers' opinions. Ultimately, you want to combine and use each in your own unique way.

Exploring Photography: Finding the Perfect Portrait Lenshttps://www.lynda.com/Cameras-Gear-tutorials/Finding-Perfect-Portrait-Lens/182035-2.html?srchtrk=index%3a1 linktypeid%3a2 q%3aFocal+length,+distortion,+and+compression page%3a1

s%3arelevance sa%3atrue producttypeid%3a2

Using Color or Black and White

Bright colors that naturally exist in your image will help to tell a story well. If you decide to mute them or go black and white, it should be with great specific reason. You are responsible for everything inside the four corners of your photo. Those choices should be made with intention. For example, if you convert a bridal portrait to black and white except for the bride's flowers, the flowers then become the focus and could be a nice variation for the client. However, a fall portrait with colorful leaves that has been desaturated probably wouldn't impress anyone.



New LA from Lynda.com to help with Damon’s suggestion in comment #27. MF on 6.2.18





Digital cameras shoot RGB images and these images need to be converted to black and white. There are a lot of software available to help with this conversion and make the photos look great. People see in color, so if your idea is to shoot convert a photo from color to black and white, it should be discussed with your client first.

Black and white photographs are often seen as classic and timeless. Always be sure to provide high-quality work specific to the agreement with your client. If you agreed to provide color work and you have some creative ideas and want to show off that aspect of your work, let them know in advance that you want to convert a couple pictures to black and white to get their opinion. Any photo shot in color can be changed to black and white during postproduction. This may be an option because you want to show off other capabilities.

Key, Contrast, Filters, and Depth of Field

The decisions you make regarding key, contrast, filters, and depth of field will affect the final portrait. Let's learn more about these choices and how they factor in the resulting photos.

Summary

We have looked at many photographic approaches to creating your portrait. Think of them as ingredients to use in your own way. The decision you make on each component will play a vital role in the portrait you want to create and distinguish you from other photographers. Portraiture comes with a long history of traditional thinking and techniques. Master these foundational rules about corrective posing and lighting techniques, and then you will learn what is and what is not flattering to the human face.



I think more clarity here would be valuable so that students know they would never be shooting in B&W. They would always shoot in raw and then convert to B&W in post-production. I just think more clarity on this point would be useful.Agreed; adjusted. – MF on 6.21.18


Textbook: Light and Lighting

Textbook: Composition and Context



Milestone 2 Task 1: Instructions

Task 1: Studio vs. Environment: Student Portrait

Hello Photographer,

We enjoyed looking at the photographs that you submitted of the faculty member. We would now like you to photograph one of the students at Bowenhouse College in both a studio and an environmental setting. With our Marketing Department having strict requirements for lighting, please take these photos under soft strobe lights. Your lighting will ultimately vary from the studio to the environment.

Remember to have the student sign a model release. We look forward to reviewing your photographs!

The Marketing Department, Bowenhouse College

Overview

For this task, photograph a model posing as a student who attends Bowenhouse College. Your model, who will be dressed as a college student, should pose against a seamless paper backdrop and in an environmental setting. With this in mind, your selection of props and wardrobe will be key in order to convey the context associated with the task. In other words, you want your viewer to understand that the person in the photo is a college student. Be sure that your subject signs your model release!

Submission Specifications

1. A combined file named PHOA232_LastnameFirstInitial_M2T1_Combined.PDF containing the following:

Contact Sheet that includes:i. 40 photos: 20 from the studio setting and 20 from the environmental

settingii. 2 wide-angle images showing two different lighting schemes; one from

the studio and one from the environmental settingiii. 2 images of handheld light meter reading the overall exposure for

incident light; 1 from the studio and 1 from the environmental settingiv. 2 images of the handheld light meter reading exposures for 1:2 or 1:1

light ratio for the studio setting; 1 Image showing the highlight reading and the other showing the shadow reading



I’m not seeing this change. My suggestion is to still keep the hypothetical context confined to the communication above. In either case, it looks like here still is an issue to be addressed here, so maybe the track changes didn’t capture the edit (“Youryour”). – Completed -MF


I agree – the hypothetical college name (and other scenario elements) should only exist within the Scenario communication above the overview. Everywhere else we should refer to what students are actually doing (“photograph a student.”)Good point; adjusted! – MF on 6.21.18


I think this is confusing here. We should describe this differently than in the scenario communication so there is not confusion that this is fictional college and part of the “role play”.Doug had asked me to create a fictional college vs. noting a “local college”. The fictional school is discussed in the Milestone 1 Overview & the course overview video. What are your thoughts? – MF on 5.23.18


2. Proof Sheet that includes your top 4 images in a proof sheet Your proof sheet should have 1 image per page. Include your file number, date, and metadata in the caption.

3. Signed Model Release containing the signature of the model.

Steps for Success

Student in the Studio

1. Choose a new subject to photograph and position him or her in front of a plain paper seamless backdrop for the studio-setting requirement. Position your model 5 to 6 feet in front of your seamless paper backdrop.

Choose your props and wardrobe to ensure that your subject has the “look” of a college student.

2. Set up two strobe lights with lighting accessories that create soft lighting with a 1:1 or 1:2 light ratio. One strobe should be your key light and the other strobe should be your fill light.

Tips: When working with strobe lighting, ensure that your ISO is set to 100 or 200, your white balance is adjusted manually using your gray card, and that your shutter speed does not go faster than 1/200th of a second to avoid issues with sync speed.

3. To meter for the different light ratios, set your handheld light meter to meter incident light. You should start by metering the highlights on your subject’s face. From there, meter the shadows on your subject’s face. Determine what the stop difference is between your highlight and shadow readings. Consider either changing the brightness of your strobe or positioning of your flag or reflector to adjust the light ratio.

Tip: Refer back to the video tutorial in Milestone 1 regarding how to meter for light ratios.

4. Take two photos of your handheld light meter metering for both the highlights and the shadows for the studio setting.

5. These images should be in sharp focus, properly exposed, and the information on the screen of your meter should be legible. These images should be included in your contact sheet.

6. Once you have your strobe lights set up to create either a 1:1 or a 1:2 light ratio, also take an overall light reading. Position your handheld light meter just below your subject’s chin and meter the incident light. Take a photo of your handheld light meter in use and include it in your contact sheet.

These images should be in sharp focus, properly exposed, and the information on the screen of your meter should be legible. These images should be included in your contact sheet.

7. Take 20 half-length portraits of your subject in the studio setting.



I’ve crossed this out to shorten the steps for success, although I think it’s good to remind students that the images of their handheld light meter should be legible to avoid images that are underexposed or out of focus.


Shortened steps; adjusted to refer back to video tutorial shaded in Milestone 1 on how to meter for light ratios.


I agree – I wonder if it would be better to break this into two tasks (using the same subject).This will remain as one task. MF on 6.21.18I think it makes sense to spell things out in the first Milestone, but steps 4-7 could be a single item. And steps 7-9 could be summarized as a single item, for example: “Position your model appropriately and set up your key and fill lights to establish a 1:1 or 2:1 light ratio.”Steps have been combined; MF on 6.21.18#10 could be shortened, 11-13 could be combined Steps have been combined; MF on 6.21.18


This is way to many steps. These need to be somewhat simplified and relevant areas need to be made into a tutorial rather than here. See highlighted areas.-Adjusted on 5.23.18 - MF


I agree – a single pdf would be best here.Completed on 6.21.18 -MF


Use proof sheet standards and present as combined PDF see notes in M1-Adjusted on 5.23.18 - MF


8. Tip: A suggested focal length for half-length portraits is between 35 mm and 50 mm.9. Push your composition by adjusting your focal length and shooting from different

angles.10. You are encouraged to bracket your shots to help ensure a wide range of exposure

detail.

Student in the Environmental Setting

11. Bring your subject into an environmental setting that resembles a college dorm room, a library, or classroom, etc. Position your model 8 to 9 feet in front of the area within the environment that you would like to be the backdrop.

Choose your props and wardrobe to ensure that your subject has the “look” of a college student.

12. Position your key light towards the front of your subject with either a large softbox, octobox, or a shoot-through umbrella as the lighting accessory. There is not a specific light ratio requirement for this section of the task, although you may want to strive for a 4:1 light ratio with one key light.

13. Position your background light near the environmental backdrop. You may want to aim the light in a direction that goes across the environmental backdrop.

14. Tip: Consider turning the “brightness” of the background light down to help ensure that the key light is brighter.

15. Once you are happy with the positioning of your two lights, also take an overall light reading.

16. Take 20 images of your subject in the studio setting. Shoot both half-length and three-quarter length portraits.

Tip: A suggested focal length for half-length and three-quarter length portraits is between 35 mm and 50 mm.

17. Push your composition by adjusting your focal length and shooting from different angles.

18. You are encouraged to bracket your shots to help ensure a wide-range of exposure detail.

Contact Sheet

19. Create your contact sheet according to course standards. Click to download a PDF for the course standards on creating a contact sheet.

Top Images

20. Select your top 4 images and place your files into a proof sheet created according to course standards.


NIIT, 06/29/18,

Sure.


NIIT: Please link this to the standards document.


Bracketing shouldn’t be needed if they are precisely controlling contrast (with light ratio) and making hand-held meter readings. If students are not getting perfect exposures from this process, then there is a metering / camera control issue that needs to be dealt with – bracketing will ‘paper over’ this problem which we definitely want to catch and resolve in this class. For that reason, students should NOT be bracketing.This applies to any case where bracketing is mentioned in all tasks.Agreed; removed. –MF on 6.21.18


Could we just create a brief Learning Activity that discusses this?Good idea, let’s insert a course from Lynda.com on this topic because it’s such a common issue. MF on 6.21.18


Exact 27s were encouraged when writing the Topical Outline to encourage students to adjust their lenses. Exact focal lengths are noted throughout the Topical Outline. Should we keep this information here or delete?


Do they need to document this photographically? Yes - MF


This is confusing – it should ‘suggest’ a 4:1 ratio as a good starting place. I believe it does suggest that by saying “you may want to strive for a 4:1 light ratio with one key light”. –MF (?)


Click to download a PDF for the course standards on creating a proof sheet.21. Save your file as noted in the Submission Specifications section.

Model Release

22. Ask your model to sign the release so you may submit it with your work. Save your model release as noted in the Submission Specifications section.

23. Place your combined Contact Sheet and Proof Sheet of 4 Top Images PDF and Signed Model Release Adobe PDF file into a folder. Name your folder as noted in the Submission Specifications section. Compress this folder as a zipped file.

24. By the due date, attach the zipped file to your post in the Discussion Area on the next page.

25. By the end of the week, use the Discussion Area on the next page to critique the artifacts posted by at least two of your peers.

Grading Criteria Tables

This task will be graded on the following criteria:

Submission Criterion Descriptor Points

Combined PDF including: Contact

Sheet, Proof Sheet of 4 Top Images, and

Signed Model Release

Specifications How well directions were followed.

5

Timeliness Adherence to deadlines. 5

Participation Substantive professional engagement in discussion or

critique; degree of effort, and self-assessment.

5

Total Points 15

-----------------------------------------------------------------------------------------------------------------

Based on your instructor's feedback, you will revise M2 Task 1 submissions and the final versions will be graded based on the following criteria as part of your Milestone 2 Submission:


NIIT, 04/30/18,

Note to DCEH: The descriptors in this grading criteria table are not as per the standard verbiage for PHOA curriculum, the SME has customized as per the specifications required for the artifacts. Please suggest.


Added


I agree with a PDF submission. Shouldn’t be loss of quality if they are combining with Acrobat.Adjusted. – MF on 6.21.18


Submit as a combined PDF rather than a zip.Adjusted-MF


Proof sheets instead of Top images.Adjusted - MF


This should have already been handled in the M1 Revision.Agreed; let’s remove. - MF


Do we need to include this for every shooting task? I would think that we just need to provide it in the first shooting task, then again as a course resource and I would think that would be enough. It seems excessive to have this as part of every task.Even the release form (which is newly completed for all shooting tasks) isn’t even included as a download for all tasks and I think that is way more important. This applies to all tasksYes, asking students to submit their signed model release for each task is needed for a portraiture course. Without a model release, students are legally not able to use their images in their portfolio, on website, or in social media. They need to learn the importance of this file. Leave details as is. MF on 6.21.18


Delete these and place link to standards document. Require PDF of Proof sheets rather than individual images. Not included above; other info deleted. – MF on 5.23.18

NIIT, 06/29/18,

Sure.


NIIT: Please link this to the standards document.



Contact Sheet Specifications How well directions were followed. 10

Professional Presentation

Contact sheets address task requirements and have accurate manual exposures and appropriate ISO choices.

20

Lighting Professional lighting tools utilized with effective skill, creative vision and

appropriate technique to meet the task objectives.

25

Proof Sheets Post Production

Images employ strong postproduction technique appropriate to the task; final

images demonstrate a clear and relevant concept that addresses the

project objectives.

25

Model Release

Professional Practice

Submission demonstrates an understanding of standard business

practices and a professional approach to the task.

10

Total Points 90

Submit



Rubric updated to match the Master Rubric.


Milestone 2 Task 1: Post Here

Due <Week 2, Day 3>

Milestone 2 Submission: Instructions

Milestone 2 Submission

Overview

You have completed the first stage of your work for this milestone submission already. Your next step is to review your instructor feedback, gather your materials, and revise your work as advised. For the completion of this milestone, submit your revised artifacts for grading.

Also, write a 300-word Milestone Report that summarizes your learning experience. This report should address your interpretation of the tasks, your approach, and the improvements that you made with your revision.

Submission Specifications

A combined PDF named PHOA232_LastnameFirstinitial_M2_Submission_Combined.PDF that includes:o Revised Contact Sheeto Revised Proof Sheeto Signed Model Releaseo Milestone Report: A Microsoft Word file named

PHOA232_LastnameFirstinitial_M2_Submission_MilestoneReport.doc that includes: A 300-word summary of your learning experience. This report should address your

interpretation of the tasks, your approach, and the improvements that you made with your revision, and your plans for the next photo shoot.

Steps for Success



The ‘planning’ aspect (planning for the next shoot) should be mentioned here.Good point; added here (this is also mentioned in the “steps for success”. – MF on 6.21.18Would it make sense to instead submit the revised planning document? (I can’t see the template in M1)I don’t think students need to submit another document; they can simply note their plans in the Milestone Report. –MF on 6.21.18Perhaps sub-bullet items to be addressed in the reportLeave as paragraph form to save space. –MF on 6.21.18


Proof sheetAdjusted on 5.23.17 - MF


Now noting combined file – MF on 6.21.18


1. Review the feedback that you received for your Contact Sheet, Proof Sheet, and Signed Model Release. Revise your work as advised from the instructor.

2. Save your newly revised files as noted in the Submission Specifications section.3. Write a Milestone Report in 300 words that summarizes your learning experience. This

report should address your interpretation of the tasks, your approach, and the improvements that you made with your revision. This report should also address your plans for the upcoming Milestone 3 Task 1. You’ll comment on where your shoot will take place, the lighting requirements, props, wardrobe, and who will be their model. Along with this initial plan, you’ll also be required to have a “Plan B” and a “Plan C.” Refer back to your Project Template from Milestone 1 and the feedback you received to see what may need to be adjusted. Save the file as noted in the Submission Specifications section.

4. Place all of your items into a folder and name the folder as noted in the Submission Specifications section. Compress the folder into a zipped file.

5. By the due date, submit the zipped file in the Submissions Area on the next page.

Grading Criteria Table

Your Milestone 2 Submission will be evaluated as follows:


Contact Sheet

Specifications How well directions were followed. 10

Professional Presentation

Contact sheets address task requirements and have accurate manual exposures and appropriate ISO

choices.

20

Lighting Professional lighting tools utilized with effective skill, creative vision and appropriate technique to

meet the task objectives.

25

Proof Sheet Post Production

Images employ strong postproduction technique appropriate to the task; final images demonstrate a

clear and relevant concept that addresses the project objectives.

25

Model Release

Professional Practice

Submission demonstrates an understanding of standard business practices and a professional

approach to the task.

10



Rubric updated to match the Master Rubric.


Requires further break down and use standards with bullet points. Completed on 5.29.18 - MF


Milestone Report

Final Milestone

Written report of at least 300 words that addresses challenges and lessons learned.

10

All Milestone

Deliverables

Timeliness Adherence to deadlines. 30

Total Points 130

Submit



Milestone 2 Submission: Post Here

Instructions

Submissions

No submissions yet. Drag and drop to upload your assignment below.

Due <Week 2, Day 7>

Review/Approval

Reviewer DateComments (Ex: Approved as is; Approved with changes noted; etc.)

Mary Yates

5/22/18

6/4/18

This needs updates. Steps for Success are too involved – there are several areas that can be broken down into tutorials rather than as steps. Creating long, detailed steps only confuses students – so cover the basics and anything that needs further elaboration should be broken out into a tutorial piece.

Approved with changes – please simplify steps for success. See Damon’s notes.

Damon Sauer 5/30/18 Reviewed

Damon Sauer 6/27/18 Second Review


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