The Photography Institute
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1 Assignment 1 Scenario 1 A large art gallery has hired you to photograph every individual framed painting in the gallery for an upcoming exhibition. They require colour accurate copies of the artwork for use in a catalogue. Please enter your notes for Scenario 1 here One small format DSLR camera with 135mm lens fixed focal lens for sharp images. One small format DSLR camera with a 50 mm fixed focal lens for sharp images. I will not use on camera flash units on either camera to eliminate reflection. I will rather set up the studio flash gear to get the ideal lightning and to shoot without flash to keep the colour accurate. I will alternate between the two lenses but I will not shoot without a tripod. This will eliminates camera shake. I will not use the filters because I will loose f/stops.
2 Scenario 2 An advertising agency has hired you to photograph individual pack shots of a range of packet soups. The soups come in small rectangular boxes, which have a glossy finish. They want the pack to look heroic and important. Please enter your notes for Scenario 2 here One small format DSLR camera with 100mm macro lens mounted on a tripod to eliminate camera shake. The macro lens will capture sharp close images and is the ideal lens to shoot close-ups Transportable studio flash gear to get the right lightning. I will shoot shots with a polarizing filter if the reflection of the packets causes a problem, to minimize reflection of the glossy soup packets but I will adjust my exposure to compensate for the loss of f/stops if I decide to use the polarizing filter.
3 Scenario 3 A men s magazine has hired you to shoot an action outdoor fashion feature of a male model in the centre of a large city wearing various business suits. They want lots of movement in the images and are happy with some motion blur. Please enter your notes for Scenario 3 here One small format DSLR camera with 24mm tilt and shift mounted on a tripod to correct and minimze architectural distortion. One small format DSLR camera with a 20 mm wide angle fixed focal lens to capture the movement in the city with motion blur I might decide to use a polarizing filter to minimize reflections of windows then I will adjust my exposure to compensate for the loss of f/stops I will shoot with a wide angle because of its characteristics to make objects closer to the lens appear larger than those in the distance.
4 Scenario 4 A sports magazine wants you to photograph an afternoon football game and they get you a press pass, which allows you access to the playing field. They want high contact physical shots with frozen action. Please enter your notes for Scenario 4 here One small format DSLR camera with a 300 mm normal lens for sharp images of the football players and to be able to shoot the distance Because it is a afternoon game and I could ran out of light I will use a neutral density filter and I will adjust my exposure to compensate for the loss of f/stops if I decide to use the neutral density filter. I will not use a flash on either camera because it is outdoors and because the flash will not reach the distance I want to shoot. One small format DSLR camera with a 135 mm normal lens for sharp images and portraits for when the football players nearer to me and when I want action shots.
5 Scenario 5 A lifestyle magazine wants you to shoot a cover shot of a woman in a large, bright, modern city apartment. The woman is to be the main focus, but they would also like some of the atmosphere of the apartment to be evident. Please enter your notes for Scenario 5 here One small format DSLR camera with a 20 mm wide angle prime lens to capture the interior spaces of the apartment the city shot and to include movement in my shoot. I might decide to use a polarizing filter to minimize reflections of windows. I will shoot with a wide angle because of its characteristics to make objects closer to the lens appear larger than those in the distance. This perceptive distortion called foreshortening will make the woman appear larger and cause her to stand out. I will set up the studio flash gear to get the ideal lightning and to shoot without flash. I will not shoot with a tripod as it will minimise my creativity and limits movement, angle of view and composition.
6 Scenario 6 You have been hired to photograph a wedding in a church. The light is bright enough to avoid having to use a flash and the minister has allowed you access to all areas. Please enter your notes for Scenario 6 here One small format DSLR camera with a 135 mm fixed focal lens for sharp images and portrait bride and groom and candid shots. I will use on camera flash unit on both cameras to get enough light on the subject in the dark church. I wont use any filters. One small format DSLR camera with a 50 mm fixed focal lens for sharp images and wider shots. I will not shoot the 135mm on a tripod as it will minimise my creativity and limits movement, angle of view and composition.
7 Scenario 7 You have been hired by a gossip magazine to shoot social shots at a gala movie premier one evening. The location is inside a dark Rococo (ornate) cinema and you have a press pass and are free to mingle with the stars. The editor requires a collection of posed and candid shots as the crowd parties through the night. Please enter your notes for Scenario 7 here One small format DSLR camera with 135mm lens fixed focal lens for sharp images and portraits with a quick cycle flash unit for the posed shots of the stars. The candid shots is going to be a challenge as it is dark inside the cinema and the moment the flash fires the candid shots are ruined because the object becomes aware of the photographer. I will adjust the exposure for the candid shots and shoot with one camera with a 50 mm lens without a flash.
8 Scenario 8 A book publisher has hired you to photograph Italian food in their studio for a new cookbook. The studio has large windows along one wall and lots of working space. They want the entire book shot from above, looking down on the food with an aerial perspective. Please enter your notes for Scenario 8 here One small format DSLR camera with 100mm macro lens mounted on a tripod to create that arial perspective the book publisher wants. I will mount the camera high on the tripod and shoot down on the food. I will set up the portable studio flash gear to get the lighting right. I will alternated between two cameras on the tripod and also use a 135mm fixed focal camera.
9 Scenario 9 A book publisher wants you to travel through France to photograph a book on wine. They want farm and regional images, as well as shots inside the cellars and manufacturing areas. They are on a tight schedule and have a limited budget, so you will be traveling alone in a small rented car without an assistant. You have only three weeks to cover all viticulture areas before the autumn harvest. Please enter your notes for Scenario 9 here I have to travel light and thus can not take too many lenses I will rather take two small format DSLR cameras and less lenses. I will take the tripod although it is bigger and heavier it is more stadier and stable than the monopod for landscapes and close ups. I will take both the polorizer filter and the neutral density filter reason being I do not know what I will encounter in France and the polorizer will minimize reflections. I will use a 24mm tilt and shift mounted on a tripod to correct and minimze architectural distortion. 100 mm macro lense for close ups of wines. 135mm fixed focal lens to take portraits 20mm fixed focal wide angle lens for landscapes. I will take two quick cycle portable flash units to shoot in the dark cellars.
10 Scenario 10 A fashion magazine wants you to photograph the latest trends in makeup. You will be shooting female models in a studio and they may be accessorised with the latest earrings and other jewellery, but the makeup is the star. They are looking for striking, close-up images with vivid colour and texture. Please enter your notes for Scenario 10 here One small format DSLR camera with 100 mm macro lens mounted on a tripod to eliminates camera shake for close ups to focus on and emphasize the make-up and jewellery. I will use the softening technique to soften the shoot and to soften the skin to accentuate the make-up for the one camera. One small format DSLR camera with a 135 mm fixed focal lens for sharp images and portraits to show off and accent the jewellery and especially the make-up because this lens gives the best portrait shots. I will focus on the model's eyes to flatter the sitter and the make-up and on this second camera I will not use the softening technique because the client wants vivid colours and sharp striking images of the jewellery and make-up. I will set up the studio flash gear to get the ideal lightning and to shoot without flash. I will not shoot the 135mm on a tripod as it will minimise my creativity and limits movement, angle of view and composition.
11 Mark 7/10 Comment ASSIGNMENT 1 Hi Helena glad to see you have completed module one. I will comment on your ideas in order and include some "food for thought" as well A tripod mounted 90mm tilt shift lens is best and a polarising filter is required. The TSL lens can help avoid reflections and also keep the frames parallel. The 50 or 135mm lens is also ok but is not as good, as it lacks the ability to control the lens axis. Wide lenses are prone to barrel distortion, which will be obvious with the rectangular picture frames. Alignment also becomes an issue the closer one gets to the painting. Studio flash is the only acceptable lighting, as it affords great accuracy and a polarising filter must be used to minimise reflections. 2. Here the 24mm TSL is best as it would allow for converging vertical correction used in conjunction with a wide lens and low camera angle to make the packs look monumental. Here we can use some distortion to our advantage! The TSL lens would also give an element of control of the focal plane when the pack are photographed at an angle. A polarising filter should also be used to minimise reflections on the glossy pack. 3. Any lens from mm will do Helena but none as wide as you suggest. An ND filter can be used to slow the shutter and is a good idea but is not essential. The 300mm lens is too long and will require a tripod and will cause problems with commuters and possibly police. A monopod is acceptable. Wider lenses will distort and minimise the movement aspect, which is desirable. Portable flash is OK if wider lenses of 35-50mm are used only. Flash used with longer lenses will require high power to be effective and therefore will take too long to recycle. 4. Good Helena. Two cameras are required, a 135 mm lens attached to one camera and 300mm lens on a monopod using the second camera. If the action gets too close for the 300mm lens you would hand hold the camera with the 135mm lens. Wider lenses will not fulfil the brief... Portable flash could possibly be used mounted on the camera with the 135mm lens. An ND filter is the last thing you would use as it reduces the exposure, which is much needed to freeze the action. 5. The 20mm lens is too wide and will distort the subject... Either the 35, 50, 90 mm TSL or 100mm macro lens will do and no filters. Portable or studio flash is not required, as using daylight and reflectors looks more natural and maintains the ambience of the apartment. Wide lenses lose the feeling of intimacy and long lenses reduce the background to too great an extent. The TSL function of the 90mm lens is not necessarily utilised here. 6. Zooms are best for weddings to allow one to work quickly and in the absence of zoom lenses I would use two bodies and attach any lens from mm and no filters. Be mindful that wide lenses like the 20mm will distort people near the edge of frame and the 300 mm is unnecessarily long considering that you have full access. Flash is unnecessary. No tripod or monopod should be used, as it will slow you down. Increasing the ISO is OK if necessary up to 800 ISO max. No ND
12 filter should be necessary inside or out. 7. Good again Helena. I would use two bodies, one with a 35 or 50mm lens and the other with either the 100 macro or the 135 mm lens and no filters. The 300mm lens would be too long in a crowded space and the 20mm lens would distort the peoples faces... Portable flash is essential as the ambient light is too low. No tripod or monopod should be used. 8. It is important to realise that when shooting from overhead there is limited scope for shallow DOF as the foreground and background are nearly the same distance from the lens. Only lenses from 24 to 100mm are acceptable. No filters or lights should be necessary, just reflectors. A tripod of some sort must be used. The 20mm is too wide and will distort the subject and lenses longer than 100mm would require a very tall ladder or scaffolding to get enough height above the food with no artistic benefit. 9. Use both cameras and any lens from mm. I have found that shooting everything with a wide lens looks remote and boring and some tele pics are needed to make the story look more intimate. Portable flash should be taken to light difficult dark areas and a tripod to allow for arty movement shots of the bottling area. No studio light should be taken as the accent is on speed. 10. Good I would use a single camera body with either the 90mm TSL or 100mm macro lens. The 90mm TSL lens would allow control of the plane of focus and the macro lens is specifically designed for close-up work. Wider lenses used close up will distort. The 135 mm lens is just ok and the 300mm lens is the least useful of the long lenses, as it is not at it s best when used close-up and shallow DOF is easily achieved with the shorter telephoto lens. Studio lighting is essential to control the quality and texture of the light. A tripod is not essential. Pretty well done Helena. I look forward to seeing your next assignment. Cheers George
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