aio-phoa232 | portraiture · web view[type text][type text][type text] course code: aio-phoa232...

COURSE CODE: AIO-PHOA232 Portraiture Milestone 5

Milestone 5: Group Portrait of Captains and Teammates

Learning Path

Milestone 5 Overview

Milestone 5 Learning Activities

Group Portraits

Family, Executive, and Team Groups

Couples Portraits

Summary

Tutorial: “Fixing a Group Photo in Photoshop” by Chris Orwig

Textbook: Interviews

Milestone 5 Task 1: Instructions

Milestone 5 Task 1: Post Here

Due <Week 5, Day 3>

Milestone 5 Submission: Instructions

Milestone 5 Submission: Post Here

Due <Week 5, Day 7>

AIO-PHOA232 | Portraiture 1

Melanie Fiander, 05/03/18,

Added Info - MF


Milestone 5 Overview

Milestone 5: Group Portrait of Captains and Teammates

Throughout the course, you’ve focused on individual portraits both inside and outside the studio, experimenting on different focal lengths. To complete this milestone, photograph group portraits in a studio setting focusing on ¾ length and full-length portraits. Given that you have to work in a studio setting, you need to push your use of props and wardrobes to visually show the concept behind the shoot.

What You Will Learn

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

Apply and push your lighting skills to the next level when capturing ¾ length and full-length group portraits. Ensure that your lighting is spread out evenly across the multiple models who you’re working with, as your group shots will be key.

Work in a studio setting and be prepared to use a very wide backdrop. If necessary, you may also want to consider using a plain white wall as a backdrop.

Utilize your understanding of the use of props and wardrobes to hone in on your subjects posing as team captains and team members of a Bowenhouse College sports team.

You will complete…

Learning Activities

Group Portraits Family, Executive, and Team Groups Couples Portraits Summary Tutorial: “Fixing a Group Photo in Photoshop” by Chris Orwig

Required Reading

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


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

Remove to avoid confusionCompleted on 6.21.18-MF

NIIT, 04/26/18,

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


Interviews

Task 1: Studio: Group Shots of Captains and Teammates

Create group portraits of two models posing as “team captains” from a sports team at Bowenhouse College. Also, create group portraits of these two team captains plus two or three additional models posing as team members. These group shots should take place in a studio setting using three strobe lights. Your three strobe lights will either be two key lights plus a hair light or two key lights plus a background light. Photograph your subject under soft light with a 1:2 light ratio and focus on capturing two different focal lengths: ¾ length and full-length portraits. Shoot from two different angles during this task in order to push your composition further.

Contact Sheet Proof Sheet of 4 Top Images Signed Model Release

REQUIRED 120m

Milestone 5 Submission

Revise the previously submitted artifacts in Milestone 5 Task 1. Also, submit a 300-word Milestone Report discussing your planning strategies for Milestone 5 Task 1 and the challenges faced. Discuss your approach toward lighting, composition, light ratio, studio setup, and use of props and/or wardrobe. Additionally, discuss your plans for your Final Project submission: comment on the feedback you’ve received throughout the course, which images you’re considering for the portfolio, and what edits need to be done in post and also refer back to your Project Template.

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

REQUIRED 120m



Added in Proof Sheet


Added in Proof Sheet


Remove to avoid confusion.Completed on 6.21.18 -MF


Milestone 5 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. Group Portraits

A group portrait consists of photographing two or more people at the same time. Learn how to light group portraits to help ensure everyone in the photo is evenly lit.

READING 10m

Image/Icon related to the topic.

2. Family, Executive, and Team Groups

Learn how to pose different types of group portraits.

READING 10m


3. Couples Portraits

Learn how to pose different types of couples portraits.

READING 10m


4. Summary

Look back at the various things to consider when planning a group portrait: wardrobe, lighting, props, and posing.

READING 10m


5. Tutorial: “Fixing a Group Photo in Photoshop” by Chris Orwig

Review the tutorial by Chris Orwig to learn more about fixing a group photo in Adobe Photoshop.

VIDEO 60m




All LA’s have Media; details are in the Media Plan Excel File.


Required Reading

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

Interviews



Group Portraits

When directing groups, it is a good idea to keep everyone close and talk to them as a group, not individuals. Have a plan from start to finish and communicate that plan to the group; this will help reassure them that you will take the lead. Start by directing them to where the camera is. Then, have the group move to the area where they will be photographed and have them face the camera. Now, you can evaluate and rearrange the group.

Start with the most important person, such as the family matriarch or company executive, and develop the photo around this person. Generally, this person is just slightly closer to camera than the rest of the group. Check your framing from behind the camera, then arrange and direct the rest of the group into position. Before shooting, be sure to give the group a warning and a countdown; this helps the group focus on the lens as you snap the image. Speak clearly and always shoot a lot more than you would for an individual.

Posing and Positioning Large Groups

There are three big challenges when photographing a large group:

Evenly lighting them from side to side and front to back Having the space or distance to use a lens that won't distort the people at the photo's edges Keeping them focused long enough to get the shot

For a group to remain engaged, they should be able to hear you. Speak loudly and clearly; there may be times when you need a bullhorn or microphone. It is your conversation and direction with the group that keeps them focused. If you begin to fuss with lights or camera settings, you will lose their attention. For this reason, you should have the technical part of the shoot ready before the group arrives. Once you have the group arranged the way you like, you do not need to worry as much about varying the poses or positions; though, some modifications midway through might bring some levity to the shoot. A general consistency in arrangement is helpful later when looking for the best photo (with everyone looking into the lens with nice expressions).



Family, Executive, and Team Groups

Family Groups

Family groups can range in size from just only three members to more than ten. Family group photos might be shot during weddings, at parks and family reunions, or during other situations where the energy and the distractions run high. Be sure you are dressed appropriately for the occasion.

Families have a variety of personalities; it is best to direct your questions to the person who hired you. Asking who the members are and understanding relations between them will give you a starting point for placement. Look for chairs, benches, and other objects in the surrounding area to use as props to vary the height or position of some group members.

Again, start with the "head" of the house or special visiting relative. Placing small children in a parent's arms or near their favorite family member really helps to keep them engaged and focused. Babies and younger children cry occasionally; don't let that bother you. Usually, the parents will be able to calm the child; and if you—as the photographer—maintain composure, this usually helps put the group at ease as well. Take as many shots as you need to get a great one. If you are shooting during an event like a wedding or reunion, be courteous of the time. Conversely, an exclusive sitting will probably allow more time to explore more options.

Executive Groups

Executives have very little time. You need to recognize this as the single most important element of the shoot for them. Getting there well in advance, setting your lights, and completing your test shots are imperative. Plan ahead for the possibility of a light going out and bring an extra of anything that could break down. This should be a rule of thumb regardless of the type of shoot.

It will work to your advantage to know the names and positions of those you photograph and a little about the company history. A little research can go a long way here. Keep conversation relative to the photo, not family and other personal matters. Executives have rank, and there is always one at the top. That person is the key subject to start with. Arrange the highest-ranking executive so that he or she is standing and slightly in front of the rest of the group. From there, you can then arrange the rest of the group. Many executives believe a serious expression without a smile is the best. Try to assure them that they should always look approachable by anyone who doesn't know them.

Teams

With group photos for a team, many variables are standard: wardrobe is the uniforms, arranging



team members by height or size is standard, and location is usually dependent on the sport (fields for field games, bleachers and benches for stadium games). Remember, powering the strobes could be a problem in such outdoor settings.

The coach is the team leader, but you still need to control the shoot. Ask the coach to assist you in getting everyone into position. Usually this is fast because the teams are used to following the coach's instructions.

Usually, coaches bookend the group or stand in the back. As with any large group, shoot plenty of exposures to get all expressions perfect in one photo. These photos aren't thought of as being especially artistic, but this could be an area for you to explore your own ideas after you get the standard image consistently.

Couples Portraits

The Couples Portrait

Couples portraits can be a lot of fun. Usually, the couples are in good spirits and know each other well. A successful couples portrait depends on the chemistry they have together during the shoot. Your focus is to nurture that chemistry and not disrupt it with photo talk or direction.

As always, planning is important. Ask if the shoot is in recognition of a special occasion and if they have chosen a place for the photo to hang. This is especially important to know so you can frame the couple either vertically or horizontally.

Married Couples

Explore composition and posing. If on location is a possibility, ask the couple for insight to their favorite location or a room in their house. Either on location or in the studio, try having the husband sit and the wife stand, and switch it around. There is no true rule here; it is about fitting the couple together like a puzzle.

One particular pose that should be avoided is with the husband behind the wife with his hand



grasping her arm. It looks overly possessive and aggressive. Their hands should be placed lightly on one another symbolizing care and love. And anytime you can see their ring fingers, show them. When photographing jewelry, be sure it is arranged well: clasps should be hidden, rings should be on straight, and earrings or necklaces should not be tangled.

Children

When photographing children, the difficulty will vary with their age. As a photographer, you should be prepared for anything. Parents usually want their little ones to look like perfect angels in this photo, and they go to great lengths to enforce that idea long before the shoot. When parents want that perfect image, they might begin to direct and control the shoot. This is not ideal for creating good photos, so ask them to be patient and sit back out of the way. Sit on the children's level and talk in a soft voice. Appeal to their curiosity and engage them; they will feel important to you and become very good listeners. Most of all, remember to be patient and that the parents will love all the images you shoot, even if they are less than angelic.

The best approach for the studio is to have a solid lighting design without many shadows; this allows the children to move about. Be sure to secure the set and place sand bags on anything that needs more stability. Outdoor portraits have different considerations; if it is a bright, sunny day, the resulting shadows can look harsh without some extra light. A fill flash on camera or a bright reflector might be the best source in this case.

Business Partners

When shooting business partners, you are shooting people of equal importance so neither subject should look more important or dominant than the other. Do some homework on the business and each of their roles; they will be different. Usually partners are running a small business that sells a product or service; see if you can work the theme of their product, company, or service into the photo (possibly as a prop).

Summary

As with all photography, planning ahead for a group session will always give you the best results.



Talk about wardrobe, location, and the use of the final image with the person who hired you. Go see the location beforehand, bring extra extension cords and possibly a stepladder; don't overlook anything and shoot multiple images. Remember, it takes a lot of effort and planning to get the group together and you have only one opportunity to make the shot.

One of the greatest assets for successful group portraits besides knowledge of camera or lights is the ability to direct a big group, answer multiple questions, think of solutions before they become problems, and use a camera at the same time. Keep things light and fun, but always controlled.

Tutorial: “Fixing a Group Photo in Photoshop” by Chris Orwig

Textbook: Interviews


NIIT, 05/10/18,

https://www.lynda.com/Photoshop-tutorials/Portrait-Project-Fixing-Group-Photo/196588-2.html?srchtrk=index%3A12%0Alinktypeid%3A2%0Aq%3Agroup+portraits+with+studio+lights%0Apage%3A1%0As%3Arelevance%0Asa%3Atrue%0Aproducttypeid%3A2


Milestone 5 Task 1: Instructions

Task 1: Studio: Group Shots of Captains and Teammates

Hello Photographer,

We enjoyed looking at the photographs that you submitted of the sports coach. We would now like you to photograph the two team captains. Along with photographing the two team captains together, we would also like photos of the captains with two or three teammates. With last week’s task occurring on location, we would like for you to photograph the groups in a studio setting.

With our Marketing Department having strict requirements for lighting, please take these photos under three strobe lights to ensure everyone in the photos is evenly lit with a 1:2 light ratio.

Remember to have the team captains and teammates sign a model release. We look forward to reviewing your photographs!

The Marketing Department,

Bowenhouse College

Overview

For this task, photograph two models posing as team captains as well as them with two or three additional models posing as their teammates from Bowenhouse College. Take the group portraits in a studio setting. With this in mind, your selection of props and wardrobe will be key when trying to convey the context associated with the task. In other words, you want your viewer to understand that the people in the photos are team captains and teammates. Ensure that your subject signs your model release.

Submission Specifications

A combined PDF zipped file named PHOA232_LastnameFirstInitial_M5T1_Combined.zip containing the following:

o Contact Sheet: An Adobe PDF file named PHOA232_LastnameFirstinitial_M5T1_ContactSheet.pdf that includes:



This should be a single PDF to match the formatting in previous milestones – Adjusted - MF


I don’t think students are going to have a backdrop wide enough for this. I think we at least need a suggestion of what to do if they don’t.Details are mentioned in the steps for success. –MF on 6.21.18


include only in the summary communication to avoid confusion.Completed on 6.21.18 -MF


40 photos:a. 10 ¾ length shots of the two team captainsb. , 10 full-length shots of the two team captainsc. , 10 ¾ length shots of the two team captains with two

or three teammatesd. , and 10 full-length shots of the two team captains with

two or three teammates 1 wide-angle image showing three strobe lights 1 image of handheld light meter reading the overall exposure

for incident light 2 images of the handheld light meter reading exposures for 1:2

light ratio; 1 image showing the highlight reading and the other showing the shadow reading

o Proof Sheet: An Adobe PDF file named PHOA232_LastnameFirstInitial_M2T1_Proof Sheet_4TopImages.PDF that includes:

4 Top Images Your proof sheet should have 1 image per page. Include your file number, date, and metadata in the caption. Save proof sheet as a PDF titled

PHOA232_LastnameFirstInitial_M2T1_Proof Sheet of 4 Top Images.PDF.

o Signed Model Release: An Adobe PDF file named PHOA232_LastnameFirstInitial_M5T1_CombinedSignedModelRelease.pdf containing all the signed model releases

Steps for Success

Portrait of Two Team Captains

1. Set up your studio space with a wide seamless backdrop. If you’re working in a tight space, be prepared to move furniture out of the way in order to complete this step. If you’re looking for an extra wide backdrop, you can also try to work against a plain white wall.

2. Choose two new subjects to photograph who pose as the “team captains.” Choose your props and wardrobe to ensure that your subjects have the “look” of team captains.

3. When working in the studio, position your models 5–6 feet in front of the backdrop.4. Set up three strobe lights with lighting accessories that create soft lighting.



This should all be combined to help reduce steps.Completed on 6.21.18 -MF


As mentioned before, steps need to be combined here and truncated. This is too detailed and, as a result, ends up obscuring objectives / processCompleted on 6.21.18 -MF


Adjusted to be a proof sheet.


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.

5. Position your three strobe lights in a manner that creates a 1:2 light ratio.

You may want to set up two strobes as key lights plus one strobe as a hair light or two strobes as key lights plus one strobe as a background light.

6. To meter for the 1:2 light ratio, 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 changing either the brightness of your strobe or the 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.

7. Take two photos of your handheld light meter metering for both the highlights and the shadows for the studio setting. Include these photos in your contact sheet.

8. Once you have your strobe lights set up to create 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.

9. Take a test shot and review the image and make an assessment on if anything needs to be adjusted regarding lighting:

Are all of the models evenly lit? Are any of the models wearing glasses that are catching a reflection? If so,

rather than removing the glasses, adjust the angle of your lighting slightly to avoid reflections.

10. Take 10 ¾ length shots of the two team captains; the suggested focal length for ¾ length shots is 35–50 mm.

11. Take 10 full-length shots of the two team captains; the suggested focal length for full-length shots is 24–35 mm.

12. Take 10 ¾ length shots of the two team captains with two or three teammates; the suggested focal length for ¾ length shots is 35–50 mm.

13. Take 10 full-length shots of the two team captains with two or three teammates; the suggested focal length for full-length shots is 24–35 mm.

14. While shooting these photos, take your photos from two different angles. Photograph your model from straight on and from a slightly higher vantage point—looking down onto the models.



I think this is helpful. As mentioned earlier, I think this really should be referring to a more comprehensive discussion in a Learning Activity


Exact focal lengths 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?


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


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

Contact Sheet

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

Contact and Proof Sheet Standards 17. Save your contact sheet as noted in the Submission Specifications section.

Top Images

18. Select your top 4 images showing 2 different focal lengths (2 ¾ length shots and 2 full-length shots). Place your photos into a proof sheet created according to course standards.

Click to download a PDF for the course standards on creating a proof sheet. Contact and Proof Sheet Standards

19. Save your file as noted in the Submission Specifications section.

Model Release

20. 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.

21. Create a combined PDF containing the Contact Sheet, Proof Sheet of 4 Top Images, and Signed Model Release. Name your file as noted in the Submission Specifications section. Compress this folder as a zipped file.

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

23. 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



Same – single PDF – adjusted -MF


Single pdf should be used here (See note in specficiations) – Adjusted -MF


I’ve found that combining the contact sheet & proof sheet diminishes the resolution and size of the contact sheet. Is this a new course standard? If so, I can adjust.

NIIT, 05/30/18,

Note to DCEH: This will be hyperlinked to:


The defining characteristic is the crop length (not necessarily the focal length), so that should be indicated here instead of focal length. – Adjusted; students are only shooting 2 different types of “crops”. -MF

NIIT, 05/30/18,

Note to DCEH: This will be hyperlinked to:


Combined PDF containing 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

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

Milestone submission will be graded on the following criteria. Based on your instructor's feedback, you will revise M5 Task 1 submissions and the final versions will be graded as part of your Milestone 5 Submission:

Submission Criterion Description Points

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. Model Release addresses the

task requirements.

25

Proof Sheet of 4 Top Images

Post Production

Images employ strong postproduction technique appropriate to the task; Final

images demonstrate a clear and relevant concept that addresses the project

25



Rubric updated to match the Master Rubric.


objectives.

Model Release

Professional Practice

Submission demonstrates an understanding of standard business

practices and a professional approach to the task.

10

Total Points 90

Submit

Milestone 5 Task 1: Post Here

Due <Week 5, Day 3>

Milestone 5 Submission: Instructions

Milestone 5 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 materials from Milestone 5



Task 1 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 zipped file named PHOA232_LastnameFirstinitial_M5_Submission_Revision.zip that includes:

o Combined PDF of Contact Sheet, Proof Sheet, and Signed Model Release named PHOA232_LastnameFirstinitial_M5_Submission_Revised Combined.pdf

o Milestone Report: A Microsoft Word file named PHOA232_LastnameFirstinitial_M5_Submission_MilestoneReport.doc that includes:

A 300-word summary of your learning experience. This report should address your interpretation of the tasks, your approach, the improvements that you made with your revision, and your plans for any re-shoots to prepare for the final submission if necessary.

Steps for Success

Review the feedback that you received for Milestone 5 Task 1. Revise your work as advised from the instructor.

Write a Milestone Report in 300 words that summarizes your learning experience. Discuss your approach toward lighting, composition, light ratio, studio setup, and use of props and/or wardrobe. Also, discuss your plans for your Final Project submission and comment on the feedback you’ve received throughout the course, which images you’re considering for the portfolio, and what edits need to be done in post.

Save your newly revised files from your Milestone 5 Task 1 as noted in the Submission Specifications section.

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.

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

Grading Criteria Table

Your Milestone 5 Submission will be evaluated as follows:

Submission Criterion Description Points



Perhaps this should be rephrased to address the situation – students would only be shooting if they are reworking one of their final portfolio images, correct? Perhaps that could be captured here. – Adjusted - MF


Portfolio panning should be mentioned as well.Completed on 6.21.18 -MF


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 of 4 Top Images

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

Milestone Report Final Milestone Written report of at least 300 words that addresses

challenges and lessons learned.

10

All Milestone Deliverables

Timeliness Adhered to deadlines. 30

Total Points 130



Rubric updated to match the Master Rubric.


Submit

Milestone 5 Submission: Post Here

Instructions

Submissions

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

Due <Week 5, Day 7>

Review/Approval

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

Damon Sauer 5/31/18 Reviewed

Mary Yates 6/4/18Approved with changes – please simplify steps for success. See Damon’s notes.

Damon Sauer 6/27/18 Second Review


aio-phoa232 | portraiture · web view[type text][type text][type text] course code: aio-phoa232...

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