teacher: kenji tachibana digital photography i x found shot opportunity – 26 slides

Teacher: Kenji TachibanaDigital Photography IDigital Photography I

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Found Shot Opportunity – Found Shot Opportunity – 26 slides26 slides

Teacher: Kenji TachibanaDigital Photography IDigital Photography IFound Opportunity – Found Opportunity – Creative processCreative process

Found Opportunity: Running with an idea Found Opportunity: Running with an idea

I’m often thinking about how to illustrate certain I’m often thinking about how to illustrate certain kinds of photographic, design, and lighting ideas.kinds of photographic, design, and lighting ideas.

While switching from one computer to another in While switching from one computer to another in my work area, I happened to notice a new kind of my work area, I happened to notice a new kind of Sharpie. I’ve always found Sharpie pens to be Sharpie. I’ve always found Sharpie pens to be very useful. So, noticing a new Sharpie product very useful. So, noticing a new Sharpie product caught my attention and imagination.caught my attention and imagination.


Object: DetailsObject: Details

The new Sharpie was bigger and had a different The new Sharpie was bigger and had a different shape than the standard sharpie. My intuition shape than the standard sharpie. My intuition immediately offered up an image idea of contrasting immediately offered up an image idea of contrasting the old with the new size using a wide angle lens.the old with the new size using a wide angle lens.

My visualization depended on forced perspective My visualization depended on forced perspective distortion. And because of the small size of the distortion. And because of the small size of the objects, the camera would need special macro objects, the camera would need special macro focus capabilities. focus capabilities.


Right Tool: Super wide lens with Macro capabilityRight Tool: Super wide lens with Macro capability

My DSLR Nikon D70 is equipped with a super wide My DSLR Nikon D70 is equipped with a super wide angle lens but it doesn’t have the macro focusing angle lens but it doesn’t have the macro focusing capability.capability.

My current favorite Sony H1 compact digital has a My current favorite Sony H1 compact digital has a phenomenal 12x telephoto capability but it only has phenomenal 12x telephoto capability but it only has a standard wide angle. It also lacks a true macro a standard wide angle. It also lacks a true macro focus capability.focus capability.

That only left my Nikon Coolpix 5400, which has That only left my Nikon Coolpix 5400, which has both the super wide and the macro capability.both the super wide and the macro capability.


Nikon Coolpix 5400: Prosumer compact digitalNikon Coolpix 5400: Prosumer compact digital

It has a better than 4x zoom starting out at the super It has a better than 4x zoom starting out at the super wide angle to beyond the portrait/product telephoto wide angle to beyond the portrait/product telephoto range.range.

It also has special ED glass optics which assures It also has special ED glass optics which assures corner to corner sharpness. It also has the RAW corner to corner sharpness. It also has the RAW image output mode, a very high end feature. image output mode, a very high end feature. Combining that with the ISO 50 means extremely high Combining that with the ISO 50 means extremely high quality image.quality image.


Not Using Red: WarningNot Using Red: Warning

I had recently been warning students about not I had recently been warning students about not using red in the background. Or using only small using red in the background. Or using only small amounts of it with great care because it’s such a amounts of it with great care because it’s such a powerful color.powerful color.

And using such a intense color can take away And using such a intense color can take away from the subject. I also suggested using red from the subject. I also suggested using red toned down in its “intensity”.toned down in its “intensity”.


Using Red: IntentionallyUsing Red: Intentionally

My visualized image was going to be dynamic but I My visualized image was going to be dynamic but I was looking for “2was looking for “2ndnd and 3 and 3rdrd reading” elements to reading” elements to enrich the story beyond just seeing the two sharpie enrich the story beyond just seeing the two sharpie pens.pens.

My creative muse also talked to me through my My creative muse also talked to me through my intuition that I should try using high intensity red in intuition that I should try using high intensity red in the background.the background.


Background: Making it workBackground: Making it work

The background is your opportunity to enrich the The background is your opportunity to enrich the subject and story. It’s also a chance to add the subject and story. It’s also a chance to add the illusion-of-depth. One of the amazing things that illusion-of-depth. One of the amazing things that Leonardo Da Vinci’s did in the Mona Lisa painting is Leonardo Da Vinci’s did in the Mona Lisa painting is the depth that he created behind her.the depth that he created behind her.

He did it by applying the rules of perspective and He did it by applying the rules of perspective and chiaroscuro, atmospheric haze. Da Vinci is actually chiaroscuro, atmospheric haze. Da Vinci is actually credited with inventing the concept of adding credited with inventing the concept of adding “atmospheric haze” to the distant mountains to add “atmospheric haze” to the distant mountains to add to the illusion of depth.to the illusion of depth.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IFound Shot Opportunity: Found Shot Opportunity: Creative processCreative process

SSharpie: Shoot itharpie: Shoot it

This is my vermillion bull’s This is my vermillion bull’s eye new-product-introduction eye new-product-introduction shot.shot.

The black area around the The black area around the image is the ‘cropFrame’ and image is the ‘cropFrame’ and the image has already been the image has already been fully processed.fully processed.


DDesign: Balanced any wayesign: Balanced any way

One criteria for good designOne criteria for good design is that it will usually look is that it will usually look good (balanced)good (balanced) in anyin any rotated orientation. But, sincde thisrotated orientation. But, sincde thisis a recognizable image,is a recognizable image,the topthe topImageImagewill lookwill lookthe best. the best.

Do your best to view the Do your best to view the others as abstract image elements. others as abstract image elements. Then theyThen they will all ‘work’. And the differences will be more will all ‘work’. And the differences will be more

about ‘implied motion’. about ‘implied motion’.


DDesign: Abstractionesign: Abstraction

Sometimes it helps to seeSometimes it helps to see the design when the scene is reduced to blackthe design when the scene is reduced to blackand white. Some times a similar results can beand white. Some times a similar results can be achieved by achieved by

using squintusing squintviewing.viewing.


DDesign: Negative spaceesign: Negative space

The negative space The negative space shape, shape, value, and color value, and color are just as are just as important here as the subject. important here as the subject. The subject and background The subject and background are separate facts that are are separate facts that are also interconnected in a also interconnected in a relationship.relationship.

The subject lives in and on The subject lives in and on the background. See the dark the background. See the dark incident reflection (incident reflection (shadowshadow) ) taking the subject line through taking the subject line through the red surface.the red surface.


LLighting: Top-back /w fillighting: Top-back /w fill

This set (scene) is lit by a soft top-This set (scene) is lit by a soft top-back light creating the bright glare back light creating the bright glare in the red bull’s eye. The incident in the red bull’s eye. The incident highlight and the resulting dark highlight and the resulting dark shadow like reflection is part of shadow like reflection is part of the visual depth illusion.the visual depth illusion.

A large white card is on the table A large white card is on the table top reflecting the top-back light top reflecting the top-back light back into the set. It’s drawing the back into the set. It’s drawing the Shaprie name on the new Shaprie name on the new product.product.


LLab Work: Lighting changeab Work: Lighting change

While working with the image, While working with the image, a different lighting idea came a different lighting idea came to me.to me.

The end result of the lighting The end result of the lighting change could have been done change could have been done in the original set by using a in the original set by using a translucent light blocker. translucent light blocker.


PPlaying Out the Image Idea:laying Out the Image Idea:

I made up a headline and I made up a headline and body text to turn the image body text to turn the image into an ad layout. into an ad layout.

The headline and body text The headline and body text were added as another were added as another design element. design element.

BigBigShotShot

The little brown fox The little brown fox jumped over the lazy jumped over the lazy purple cow. The little purple cow. The little brown fox jumped over brown fox jumped over the lazy purple cow.the lazy purple cow.

The little brown fox The little brown fox jumped ver the lazy jumped ver the lazy purple cow. The little purple cow. The little brown fox jumped ver brown fox jumped ver the lazy purple cow.the lazy purple cow.

The little brown fox The little brown fox jumped ver the lazy jumped ver the lazy purple cow. Thenpurple cow. Then


CCommercial ommercial Considerations:Considerations:

Design your shot with Design your shot with potential commercial potential commercial use in mind. use in mind.

Compose your shots Compose your shots to stand alone or with to stand alone or with a headline and body a headline and body text for commercial text for commercial use.use.

BigBigShotShot





An Ad to introduce An Ad to introduce the new big Sharpiethe new big Sharpie

CCommercial ommercial ConsiderationConsiderations:s:

BigBigShotShot




Teacher: Kenji TachibanaDigital Photography IDigital Photography IImportant Information:Important Information:

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Pay Attention To ShapePay Attention To Shape

Teacher: Kenji TachibanaDigital Photography IDigital Photography IImportant Information:Important Information:

SStay Shape Aware:tay Shape Aware:

Become super-conscious of shape. KnowBecome super-conscious of shape. Knowwhether your camera has a 4:3 or 3:2 ratio.whether your camera has a 4:3 or 3:2 ratio.Even with a Compact 4:3 native shape, it can be Even with a Compact 4:3 native shape, it can be adjust to 16:9 ‘accidentally’.adjust to 16:9 ‘accidentally’.

DSLR native shape is 3:2 which is a widerDSLR native shape is 3:2 which is a widershape than the Compact. How you frameshape than the Compact. How you frameany scene will be strongly influenced by your camera any scene will be strongly influenced by your camera frame shape.frame shape.

A pro photographer often shoot variations for A pro photographer often shoot variations for different page layout shapes.different page layout shapes.

Teacher: Kenji TachibanaDigital Photography IDigital Photography IBack To: Back To: Sharpie shotSharpie shot

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Working BackwardsWorking Backwards

Teacher: Kenji TachibanaDigital Photography IDigital Photography IBack To: Back To: Sharpie shotSharpie shot

IDID Version: The shot Version: The shot

I was inspired to shootI was inspired to shootthe ‘ad’ shot for the newthe ‘ad’ shot for the newSharpie. In hindsight, ISharpie. In hindsight, Ithought that it might bethought that it might beuseful to re-shoot theuseful to re-shoot theSharpie as an ID shot.Sharpie as an ID shot.

Since ‘size difference’ Since ‘size difference’ was the primary story, I choose a grid paper background.was the primary story, I choose a grid paper background.


IDID Version: The shot Version: The shot

I was inspired to shootI was inspired to shootthe ‘ad’ shot for the newthe ‘ad’ shot for the newSharpie. In hindsight, ISharpie. In hindsight, Ithought that it might bethought that it might beuseful to re-shoot theuseful to re-shoot theSharpie as an ID shot.Sharpie as an ID shot.

Since ‘size difference’ Since ‘size difference’ was the primary story, I choose a grid paper background.was the primary story, I choose a grid paper background.

Sharpie: Sharpie: ID shotID shot

Teacher: Kenji TachibanaDigital Photography IDigital Photography IConclusion:Conclusion:

SSummary:ummary:

Here are examples from Here are examples from stage 1 ‘ID’ and stage 4 stage 1 ‘ID’ and stage 4 ‘Repurposed’ layouts.‘Repurposed’ layouts.

BigBigShotShot

The little brown fox The little brown fox jumped over the lazy jumped over the lazy purple cow. The little purple cow. The little brown fox jumped brown fox jumped over the lazy purple over the lazy purple cow.cow.




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teacher: kenji tachibana digital photography i x found shot opportunity – 26 slides

Documents

macro capability

creative muse

prosumer compact digital

slides slide

super wide lens

super wide angle lens

standard wide angle

standard sharpie