PHOTOGRAPH BY ALICIA BONTERRE
One of the recent assignments at Project 52 PROS was to make the worst photograph they could make. The assignment was designed to make the students think about what makes a good photograph in order to negate that in order to make a terrible photograph. You can see the assignment here.
Alicia Bonterre turned in a perfect example. The image of the bottle and the glass on the left were not staged. Simply set down and shot. She then worked her magic on the image to the right. I think this would be a very good way to show clients the power of what you do as a professional photographer. Think of some ways to show before and after shots that educate and inspire your clients.
McGunn Media turned in this image. Catherine Vibert shows a badly conceived portrait and then a lovely one with wonderful light and context.
Steve is a photographer in Colorado, and a Project 52 Alum. These photographs were taken during a summer project covering the Front Range of Colorado and the grave markers in the old cemeteries there. Steve chose to do these photographs on dry tin type, a very old process,
See Steve’s full story, “Marble in Tin”. and a lot more photographs at Exposure.
More on the tin type process here.
“In The Frame” is my weekly dispatch covering lots of tips and interesting points of view for emerging photographers. Some articles end up on Lighting Essentials, and some of them are only for my newsletter subscribers. No Spam, and we never give names to anyone.
The great shooters of Project 52 Pros, 2014 just completed an assignment I would like to share.
The work was to be shot in a style or period and be as faithful as possible in presentation. The reason for the shoot was to introduce them to the special difficulties of finding props/locations that could be used for something of a previous era. We excluded any era forward from the 60′s/
I think they did brilliantly.
Some beautiful work from the Project 52 assignment on ‘wet’.
From the assignment:
Shiny, smooth, liquid… wet is – well, wet.
And we have to show “Wet” in a photograph. For a client who wants to keep things dry.
You can approach this one in three ways:
You can show something very, very wet. And make the photograph speak to the power of being wet, and how that may be a challenge down the road a bit.
You can show something very, very wet that is purely for the fun of being wet… as long as it shows the detail of the ‘wetness’.
You can show something repelling the wetness from it’s surface. Like a deck protectant, or a sealer for cloth.
The title of the shot would be “Wet” and obvious to anyone looking what that referred to.
How do we show “Wet” – in a photograph?
Wet things are shiny. Wet things have highlights and speculars that show them to be shiny. We will have to have some context around them – or within the subject itself – to make the call that it is indeed wet and not ‘just shiny’… and that means probably some added detail to the wet areas.
We want to see big, ‘liquid’ highlights on this shot – so softbox, scrim or overcast sky with lots of control. White cards are important, and your subject should be chosen with care. (Note… natural wet areas do not count… lakes, streams, rain etc… unless there is a reason or context present in the subject.
Get More Info on Project 52 Summer 2015 here.
Enrollment starts July 3, 2015