You want to be an 'all-rounder' with your camera? Accept the
challenge and try out....
Assignments
Here are twelve Photographic Assignments for you to try. Successful
completion of ten of the assignments will qualify for a
'Certificate of Achievement' from the club.
- Will this certificate get you a job as a
photographer.... No (but you could earn money from your
photography in many ways and a little study and practice
with these 'tasks' will help you).
- Will
the Assignments make you a better photographer?... Yes.
It will get you out and about experimenting with your
photography, trying out things you may never have
considered. Gaining 'an eye' for a good image comes either
from natural talent (and is quite rare) or simply by seeing
what you want to achieve, practice and repetition. Being
able to get your imagination into an image is the main task.
-
We don't expect every member to attempt these assignments
and it's very much a voluntary programme for your benefit...
it could even be done informally, as you can dip in and out
of the 'tasks' in your own time, but you won't get any
feedback unless you're 'signed up', in which case the
Assignments are to be carried out in the sequence shown
below.
- As I find more tips and hints, or other
advice, I'll add them as I go.
So, here's the plan.....- If you want to start out on
this series of assignments, just let me know (email or in
person) before you start. I will be keeping a record
of progress, so it's a bit like 'registering'. (But you
could use these assignments for your own purposes in an
informal way).
- All the information to help you with
each assignment is either listed here in the form of pdf
files or weblinks, or can be found on the
Learning page. You will also gain a lot of inspiration
by looking at the work of others - maybe online (the last
batch on the links page is full of good photographers), or
by using the library, galleries around town etc. Whenever
you see a picture you like, try to analyze just what it is
that makes you like it and think how it's been achieved.
-
Aim to work on one assignment at a time in the
sequence below and, when you feel that you're ready to
submit your work, send me three images that are a
result of your studying and practising. That doesn't
mean 'Go out and take three pictures and send them in' -
it means 'take several pictures (perhaps over a week or
so) following the instructions, assess them properly and
objectively, then send three that represent your
learning' - it's not a race.
- It's also
important to just send me three - not four, five or
more in the hope that you're bound to have got two of them
right - it's from your selection of which images are right
for the assignment that I can verify that you've understood
it.
- I will check, quite objectively, all three
images of each assignment. If
two of the three
'make the grade' then we can consider the Assignment
completed and we can move on to the next assignment. If
further advice or critique is needed I will try to provide
it, but continue with the same assignment until it's been
successfully completed, before moving on to the next one.
I'd like to keep each 'candidate' to one theme at a time, so
I only want images from the 'active' Assignment.
-
The instructions for each assignment are more 'objective'
than 'subjective', so a successful image generally will not
need to be a masterpiece - but needs to show that the member
has grasped the essentials of a technique. I hope I have
written (or found) instructions and assignments that, should
I be unavailable, could be taken over and controlled by any
experienced photographer.
- Most of the assignments
could be covered with either a Compact or a
DSLR - they could even be covered with a film camera
but would be more difficult.
- While post-processing
of digital images is often vital, I've tried to steer clear
of making the use of photo-editing essential. This is really
all about the photo-taking, use of camera, the lighting and
having a good and appropriate technique. However, even the
simplest photo-editors are capable of converting an image to
black and white, so I've included this as an assignment.
-
I've also kept away from any use of a Flashgun - it's a
complex (and expensive) business and, for most of us,
on-camera flash is less important than using ambient
light.... though a fill-in flash can be useful. That's
up to you.
- Submissions for each Assignment
must include the exif information. As long as you save in
the normal manner (not 'Save for Web') the exif should stay
intact. I will want to check Aperture, Shutter Speed, ISO
and a few other things, and also to check their 'taken on'
date - they must be pictures that have been taken
specifically for the assignment and not 'recycled' from old
shots. This sounds mean but is essential.
A little homework before you begin- Shutter and
Aperture, with ISO, Depth of Field... the
basics of photography
- Camera Shake and image
sharpness - Workshop page
-
Colour settings - Workshop page
-
Selecting your Exposure Modes, Jpeg or Raw, focus points
-
Read the tutorials, read your camera's manual - and
take a really good look at the photographers whose
websites are linked to on the
Links page.
1. Key Camera ControlsAssignment: City Lights!
Seems a bit odd to start off with City Lights when we're talking
about key camera controls, but I recommend it for learning your
camera's functions, buttons, knobs and dials. Find a location
that offers a variety of coloured lights, such as street lights,
shops, restaurants, offices etc. (How else can I explain
'Downtown'?). You'll need to use the LCD screen more than usual,
but you'll get to know your way around your camera. Capture the
brilliance, warmth and colour of the city lights. This works
better in the dark but late afternoon, towards dusk, is ok....
daylight won't bring out the colour or warmth. This will seem an
odd place to start, but bear with it - you'll get to know your
camera in the dark.-
using different sensitivity settings allows you to compare
the effect of noise and exposure
- different white
balance settings will alter the effect of colour balance
-
trying a variety of viewpoints gives you different
perspectives
- work fast to capture the colours of the
evening sky just before dark, or morning light
-
juxtaposing different elements in the same picture plane
adds interest
-
varying exposures on the same composition is a good way to
learn about tonal and movement variation with exposure
-
contrasting sharp details with movement blur emphasizes
speed
- Don't forget, if it's dark and you have a lot
of blackness in your image, you will get a lot of noise
unless working at a low ISO - and that will require a stable
camera support. It's really only when light fills the
viewfinder that you won't notice noise.
- Don't
forget - movement blur is ok - camera shake is not.
-
Do NOT put yourself at any risk out on the streets and be
careful of the cold (which numbs the fingers and flattens
your battery). Twilight is really a better time than
complete darkness.
Submit three images....
that show a good working knowledge of a few essential
components of photography that show control of....-
Aperture - let's see flexible use of the aperture to
control depth of field and shutter speeds (narrow DoF
and sharpness from a wide aperture, or movement blur and
deep DoF from a narrow aperture)
- Selection of
Shutter speed and its consequent effects on aperture
-
Change ISO to give more flexibility in aperture and shutter
control
-
Allow yourself a longer exposure to work with blur or
allow some movement in your pictures - but try to hold
the camera steady (tripod, monopod, or some other
support, or wrapping yourself around a lamppost)
-
Think of the composition of every shot
- Better to see
some creative shots that have movement blur (not camera
shake), than sharp shots that are too static
2. Exposure Control
Assignment: Still Life
... and still more examples - these even contain some
details on how they were made
Most Exposure Tips can be found in the 'City Lights' pdf,
above. Even more tips about lighting indoors can be found in the
Portraits Assignment, below
Using as many or as few light sources as you wish, create an
atmospheric still life. Experiment with the arrangement of every
element in the composition, from the objects themselves to the
background and foreground, until you find the best picture
possible. Control the lighting and shade meticulously so that no
manipulation of tone, colour, or object is later needed. Try
various exposure settings to learn the effect on tonality of
varying the placement of mid-tones.- use the highest
resolution setting on your camera, and the lowest ISO you
can manage with the light available.
- if possible,
shoot in RAW format so you can make adjustments later (but
don't get bogged down with this - if you can only do JPEG,
stick with it)
- flat lighting is usually easiest to
work with, but choose lighting that suits the subject and
don't be afraid to experiment
- use a tripod to ensure
the sharpest results
- small apertures will maximize
depth of field
Submit three images....
that show the ability to display
texture, shape and colour in your own arrangement of
still life objects. A traditional still life relies on the
arrangement of a collection of associated items, but feel
free to go for singular items if you like. Use the examples
for inspiration.
3. Getting the best imageAssignment: Urban Nature
Search for nature against man-made structures and try to
record them with the very best quality. You can work with
general views of the environment or in close-up to focus on
details that are usually overlooked.In photographic
competitions, the 'Nature' category limits us to pictures of
flora and fauna that cannot include 'the touch of human hand'
...... this can be different, and a 50-50 divide between manmade
and natural, in one image, is encouraged.I'm sure
you've seen, at some time, various wild animals in the city, or
in your backyard - fox, raccoon, groundhog, skunk, rabbit,
chipmunk, squirrel, coyote. Then there are those flowers that
grow in the oddest places, cracks in the pavement etc., or the
wildlife of all kinds that takes over empty or ruined buildings.-
use a high sensitivity setting to capture movement (low ISO
will demand longer exposures)
-
shoot in RAW format if it is available on your camera
-
use lighting that suits the subjects: flat lighting is
usually easiest to work with
- if using a tripod is
awkward, a monopod is a great alternative, or look for any
handy support on which to rest the camera to ensure sharp
results
- use the full range of focal lengths
available to you, experimenting with zoom setting at each
perspective
- check out the
Urban Nature Group on Flickr
Submit
three images....that demonstrate reasonable
composition, choice of aperture and working distance, with a
good selection of lens focal length.
4. Getting ideal ColourAssignment: City StreetsImagine that a photo magazine or
website has asked you to illustrate a feature on the techniques
of composition and choose a well-known landmark as your main
subject. Use every trick in the book to produce an unusual
interpretation.- use wide-angle settings from medium
distances to capture the general atmosphere of the scene
-
long focal length settings will compress space from a
distant perspective
- patterns and lines help to
organize a composition
- wide-angle lenses used close
up to a person or object help to provide a frame and context
-
find details and keep it simple - big sweeping cityscapes
are for another day
Submit three images....
with people in them, outdoorsto demonstrate good
composition, finding of patterns, shapes and movement using the
strongest colour combinations possible - check a 'colour wheel'
to find complementary colours - or subtle transitions of tone
and colour, up to you.
5. Mastering Composition
Assignment: Composition on Location-
try out every viewpoint you can reach; crouch down for a
low angle and clamber higher too, if possible
-
hold the camera at different angles - don't limit
yourself to just vertical or horizontal
-
use only a single zoom setting for a while, as this forces
you to move around more to make a composition work
-
move on to different focal lengths - isolate small details
or go for the whole broad scene
-
vary your exposure - in bright conditions this will
emphasize different parts of the scene, thus changing
your composition
- think how a bright sky and dark
foreground can complicate the exposure and find ways to get
around this
Submit three images....
that demonstrate an understanding of the uses of appropriate
focal lengths, lines, shapes, colours, shadows and perspective.
You can include people or you can concentrate on the
architecture or dynamics of buildings and streets.
6. PortraitAssignment: Capturing Character
Arrange a portrait session with an acquaintance -
someone you know but preferably not a member of the
family. This is more difficult than working with someone
you are close to, but not as tricky as working with a
complete stranger. Using any means at your disposal -
available light, flash, props, surroundings - to obtain
a portrait that conveys the subject's character. Follow
the steps shown in the accompanying pdf files, parts 1
to 5.-
use a medium or long telephoto for full-face shots - the
'ideal' lens on a 35mm camera is about 80-90mm - so
that's going to be around 55mm for most of you on APS-C
sensor DSLRs
- to show more of the subject's
setting, use a wider angle lens
- for a portrait of
the sitter surrounded by their environment, shoot with an
even wider lens length
- use a reflector to help
control any deep shadows
- keep the eyes sharp
-
keep to a low ISO unless absolutely necessary
Submit three images....portraits using different
facial angles, face only or 'in their environment', showing a
relaxed subject.
7. Documentary PhotographyAssignment: A
Day in the LifeRecord a day in the life of your
subject, who may be a shopkeeper, farmer, office worker, student
- whatever takes your interest and whoever is happy for you to
do the assignment with them. Try to capture a telling
characteristic of their life in just one shot, which could be
witty, observational, personal, close up or a long view. Don't
set up shots: instead, try to observe and catch the moment
naturally. Your aim is to convey an aspect of the subject's
life, but only three images are required.-
draw on all your knowledge of your subject to anticipate
action
-
be unobtrusive in your style of photography, working
discreetly and quietly
- use flash if you must, but a
relatively high ISO may be better
- use a wide angle
lens with a large aperture to enable you to get in close and
capture wider views when you're working in available light
Submit three images....all linked in the same
'story', or of the same people or event. It may help to think of
them as just three out of a slideshow of 30 or more.
8. Using Available LightAssignment: Light and Shadow
Photograph the relationships of buildings with their settings
with lighting effects from natural or artificial sources or a
combination of both. Look for close details, an unusual angle,
an intriguing composition, or a combination of colours for their
own sake.- Use high-contrast and high saturation if
it is available on your camera (you'd have to use Jpeg)
-
keeping your zoom lens to one focal length will help you
concentrate on composition
- a low ISO setting will
ensure the best colour quality and clean blacks
- keep
the camera square on to the subject to eliminate converging
parallels - unless you really want them
- for minimal
distortion, the middle of a zoom lens's range is usually
advisable
- use apertures in the middle of the range
for the best image quality
Submit three
images....to reveal light and shadow in outdoor
shots. Bring out texture, shade, perspective. It can be
monochrome if you like.
9. TravelAssignment: A Revealing AngleTry to convey a sense of discovery
and involvement in what you see and feel on your travels. Think
about the photographs you have already seen of the locations and
try to imagine how you could frame a composition or use
perspective differently in order to reveal a little more. You
could save this one for a longer vacation or just try it on a
visit to a different town or city.-
gain as much local knowledge as possible so that you can be
a guest rather than a visitor
- use the short or
wide-angle end of your zoom as much as possible
-
catch people's attention and win permission to take a
photograph
- go off the 'beaten track' and do your own
thing
- it really doesn't matter whether you take your
pictures in Kingston Ontario or Kingston Jamaica
Submit three images....covering the above points
- the world's your lobster.
10. Landscape and NatureAssignment: Spirit of Place
Visit a beauty spot and imagine you have been commissioned by
the local tourist authority or a travel magazine to create a
definitive image of the subject - a picture that could be used
on a website showing local attraction (e.g. Fort Henry, Rideau
Canal)- use the full range of focal lengths to gain
plenty of variety
-
photograph the subject at different times of day to record
how the light affects the scene
- if you are visiting
a site that is privately owned, obtain a permit in advance
-
there should be no need to add a caption to explain the
image
Submit three images....
Covering the above points. Consider timing, lens use, a sense of
'life' and display good composition and choice of viewpoint.
11. SportAssignment: The Essence of a Sport
Photograph a sport that you know well in order to communicate
what it is about it that engages you Is it the thrill of the
speed, the delicacy of balance needed, the feel of water or air
on the skin, or the camaraderie? It might be an extreme close-up
that gets the feeling across or a general view. This can be
three dissimilar shots of the same sport or of three different
sports.-
use shutter priority auto-exposure set to the shortest
exposure times to capture rapid action that is passing
across your field of vision
- set higher than normal
sensitivity setting to allow for short exposure times
-
use longer shutter times to create blurred motion shots
-
take wide-angle views from close to the action if you can
get near enough
Submit three images....
taking account of the above and paying attention to timing,
backgrounds, spectators, atmosphere, movement.
12. Composition for Black and White and other artistic stylesBlack and
White photography generally relies on composition and lighting -
to show tone, texture and shape. So the 'trick' is to develop an
eye for those things and ignore colour. Using your skill and
imagination, and exercising your freedom to work with any kind
of subject or approach, with or without manipulation, produce
images that are expressive and subjective, rather than objective
and representational. Imagine that your photographs may be used
for a magazine, poster or greetings card.-
art imagery accepts a very wide range of technical quality:
what matters is that the quality is appropriate to the
message or intention
- other forms of art such as
movies, music and fine art can be very inspiring and can
suggest ideas and themes for your photography
- make
use of the qualities and characteristics of your equipment;
accept any distortion in the lens or strange colours rather
than fighting them
-
work at them rigorously - your images will improve steadily
Submit three images....of your best work.
Remember the importance of shape and composition - just
converting a colour shot to b&w will not be enough - try to
demonstrate that you've thought of the shot in b&w to start
with, by use of composition, light and shade, tones, textures
etc.
Want to have some Guided Photographic Practice?
Try these weekly assignments.... they're not monitored, nor
are they assessed in any way, except by you - but they may just
lead you to trying something different, perhaps finding a new
style of your own. Use them as you please but try to keep your
own weekly schedule. Be tough on your own pass/fail rate but
don't get too bogged down with one assignment.
- Week 1 - Wide Angle
Don't fall into the trap of only using zoom lenses at their
longest focal length (zoomed right in).... sometimes a wider
perspective is much more powerful.-
Week 2 - Water
A topic
that has a lot of scope and might range from pictures of
anything from water droplets on a leaf, to a rushing
waterfall, to the crashing of a wave on a coastline to a
serene lake.-
Week 3 - Still Life
Setting up your subject and the lighting... 2 desk lamps to
help eliminate the shadows.. or maybe try borrowing a light
tent (some members have them). Take a look at the links in
Assignment 2, above.-
Week 4 - Hands
Doing
anything!-
Week 5 - Repetition
Any
subject - as long as there's some repetition there - lines,
circles, anything.-
Week 6 - Smoke
Entirely
up to you - consider editing the colours after shooting.-
Week 7 - Cityscapes
Self-evident, I think.- Week 8
- Construction
Plenty always going on - another angle on this may be a
daily picture of a building going up, connected by a slide
show or joining them together in a row or even a grid of
many.- Week 9 - Morning
Somebody in the house getting up in the morning? Breakfast
time? Busy traffic in the city? Early morning mist over the
lake, canal, river?
Now you're on your own!-
Week 10 - Circles
-
Week 11 - Self Portrait
-
Week 12 - Rectangles/Squares
-
Week 13 - Food
-
Week 14 - Converging Lines
-
Week 15 - Contra-Jour
-
Week 16 - Natural Framing
-
Week 17 - Low Light/Night
-
Week 18 - Panning
-
Week 18 - Food
-
Week 19 - High ISO
-
Week 20 - Portrait in Natural Light
-
Week 21 - Breaking the Rule of Thirds
-
Week 22 - Sleep
-
Week 23 - Monochrome
-
Week 24 - Fruit and Vegetables
-
Week 25 - Wind
-
Week 26 - Rivers
|
City Lights
