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inside cover

15 Photo Projects

That Will Boost Your Creativity

EDWARD VEROSKY

Copyright 2012 Edward Verosky All images copyright of their respective owners. No part of this book may be copied or

distributed in paper, digital, or any form without written permission from Edward Verosky.



ContentsIntroduction..............................................................................IV

Try Film Photography with a Holga ........................................1What you’ll need..................................................................................................... 2

Project Instructions................................................................................................. 3

Create Smoke Abstracts ..........................................................8Project Instructions................................................................................................. 9

Use Noise & Grain for Effect ..................................................14What You’ll Need ................................................................................................... 15

Project Instructions................................................................................................15

Fruit and Vegetable Portraiture ..............................................18Project Instructions................................................................................................ 20

Do a 365 Project in One Day ...................................................22Project Instructions................................................................................................ 23

Add Texture to Your Photos ...................................................24What You’ll Need ................................................................................................... 25

Project Instructions................................................................................................26

Shoot a Band in a Small Venue ..............................................32Project Instructions................................................................................................ 34

Create a Classic Portrait .........................................................37Project Instructions................................................................................................ 39

Create an Ethereal High Key Portrait.....................................43Project Instructions................................................................................................ 44

50mm for One Week ................................................................49Project Instructions................................................................................................ 50

B&W for One Week ..................................................................51Project Instructions................................................................................................ 53

Tell a Story with Multiple Images ...........................................54

Project Instructions................................................................................................ 57

Window Light Photography ....................................................58Project Instructions................................................................................................ 59

Found Objects .........................................................................63Project Instructions................................................................................................ 64

Create (and Break) Symmetry ................................................66Project Instructions................................................................................................ 68



Introduction As a professional photographer it’s been my pleasure to share my

knowledge and experience with so many novices and professionals alike.

I’ve written books and eBooks that cover basic and advanced techniques,

and the philosophy of being a photographer/artist. I also love to share any

advice I can with my on-line photography group and through my blog at

http://www.edverosky.net/blog . And it’s through my on-line interactions and

emails that I’m able to get an idea of what many photographers from all

over might nd helpful. My eBooks provide me with a vehicle to gather and

present detailed content in an organized and cohesive way.

15 Photo Projects That Will Boost Your Creativity was created as theantidote for the occasional creative rut, and a set of exercises and

challenges that should help you see your photography from a different

perspective. My hope is that you will use what I’ve presented here as

a starting point to open your mind up to new ways of working with your

camera and subjects. Some of these projects may ignite your creativity

and some may simply prompt you to learn a valuable new skill.

You’ll nd that many of the projects are indeed quite challenging and will

take a great deal of commitment to complete. Others are relatively easy

and can be explored quickly and casually. You can take on these chal-

lenges in any order, so feel free to ip through the projects and pick and

choose the ones that strike a chord with you on any given week. I encour-

age you to go deeper into any of the subjects that really interest you. Use

the internet and other resources to further explore the techniques and ideas

that we touch on here.

Above all, have fun! Keep experimenting, take risks, and nd somethingcompletely new to explore when you nd yourself in a creative funk.

Changing your perspective and learning something new are great ways to

get back into your groove.

Ed Verosky

http://www.edverosky.net/blog

http://www.edverosky.net/blog



Project 1

Try Film

Photography with a Holga

Anytime you photograph without a safety net it encourages you to really

consider what you’re shooting. Taking photos with a toy lm camera canbe liberating, fun, and dubious all at the same time. Compared to digital,

it’s also relatively expensive on a per photo basis, which it turns out, is part

of the reason this exercise can be so effective. Purchasing a toy medium

format camera, the lm it requires, and taking on the cost of processing,

invites a commitment that will motivate you to learn something about how

you approach photography.

Figure 1.2 Holga images shot at Central Park, NYC.



Project 1

I recommend you start with a basic camera like the Holga 120N and a

couple rolls of lm. Just learning to load the camera will be fun, and the

photos you get from using it will be eye-opening. Enjoy the process, hold

the negatives in your hands, and tack the small square prints (often 5x5”)

you get from the lab up on the wall. This is going to be exciting!

What you’ll needThe materials needed for this project can be purcashed at your local

photography shop or online. You’ll also need a lab that can process your

photos unless you plan on doing that yourself.

• Medium-format toy lm camera. There’s nothing like shooting

with an imperfect and potentially light-leaking plastic toy camera.

One of the best for a project like this is the basic Holga 120N.

• 120 Rolls of B&W and Color Negative Film. Get a couple of

each. I’d suggest going with lm rated at ISO 400 or 800 for out-

Figure 1.2 Central Park, NYC.



Project 1

door photography. The B&W photos on these pages were shot

with Kodak 400 T-MAX B&W lm.

• A Photo Lab. That means the real deal; someone who can de-

velop your roll of lm and give you prints (and possibly a matching

set of digital images) back. Look for a local photo lab that will dothis, or nd a lab that does processing by mail. Prices vary, so

make sure you shop around to get the best deal.

Project InstructionsThere are a few key things you’ll need to learn and do in order to start us-

ing your Holga. This is a big part of the fun, so take your time and be proud

of what you’re learning to do as you go along. If you’ve never worked witha lm camera, or a Holga, you’re going to love this part. One of the rst

things to consider is how you’re going to set your camera up to expose the

Figure 1.3 Back view of a Holga (right). When the camera’s

back cover is removed for loading lm, you can extract the spool

so that it can be used as a take-up spool for the new roll of lm



Project 1

lm. Some Holgas come with plastic masks that allow you to take 4.5x6cmshots (up to 16 shots on the roll of lm). However, I’d recommend you

shoot the square format which you can do with a square mask, or no mask

at all. This allows for 12 shots per 120 roll. Set the lm counter slider on

the back of the camera to 12 if you decide on going square, or 16 if you’re

going with the rectangular mask.

Load the Film

This isn’t as easy at it sounds. Loading lm into a Holga can be frustratingthe rst couple of times. There’s no motorized take-up spool, it’s all done

by hand. You’ll also have to be careful not to inadvertently expose the lm

to light. Since there’s no lightproof canister protecting the lm, you’ll want

to do this in subdued lighting conditions.

Figure 1.4 After the new roll of lm is removed from its packaging, it is inserted into the left chamber of

the camera. The leader is inserted into the take-up spool which is then inserted into the right chamber.



Project 1

Here’s what you’ll do each time you load a roll of lm:

1. Remove the new roll of lm from its packaging. You might

have to tear off the leader from the roll in order to free it.

2. Place the roll of lm inside the left chamber of the camera.

You will have to angle it in order for it to slip in place.

3. Slip the lm roll’s leader into the take-up spool. The spool has

an opening in the center. Fit the leader into the opening and start

tightening some of the leader paper around the spool.

4. Place the take-up spool into the right chamber of the camera.

Again, this will require that you angle it in. Once you do that, windthe lm advance a few times to make sure the lm is wound snugly

around the spool.

5. Secure the back cover. Place the back cover onto the camera

and secure it with the side fasteners and optionally some black

tape. Wind the lm advance some more until you see a number

(1) in the red window. The numbers in this window indicate the

frame you’re currently exposing on the roll.

Advance The FilmEach time you take a shot, the lm stays right where it is; there’s no auto-

matic mechanism to more it to the next frame. After each shot, remember

to advance the lm until you see the next number in the red window.

Shoot And Develop Some Holga PhotosNow it’s time to take the camera outside and snap some pictures. There

are some important features on the camera that you should be aware of:

• Bulb & Normal. A switch located on the bottom of the camera al-

lows you to trip the shutter normally (about 1/125 sec.) or you can

switch to “B” (bulb) which keeps the shutter open as long as you

hold down the shutter release. Use “N” for most photography.



Project 1

• Sunny/Cloudy. Use this to switch from a “sunny day” aperture of

approximately f/8-f/13 to a “partly sunny day” aperture of approxi-

mately f/11-f/20. Don’t worry about the lack of technical accuracy

with the aperture settings. Just gure on a sunny day, you’ll be

ne with ISO 400 lm.

• Focusing. It’s all manual; no autofocus, and you’ll have no real

indication through the viewnder if the lens is actually in focus or

not. Again, precision is not important here, but there are little icons

on the lens which indicate appoximate distances for focusing. The

small working aperture will insure that focus is adaquate most of

the time. Holga images will never be super crisp, but that’s not the

point. Focus icons and distances are listed here:

• Single gure: For subjects about 1 m away.

• Small group: For subjects about 2 m away.

• Large group: For subjects about 3 m away.

• Mountains: This is the same as “innity” on a regular lens.

Each time you take a shot, be sure to check your focus indicators for the

correct approximate distance you’re working with, click the shutter relase,

and advance the lm to the next frame.

Figure 1.5 Holga focusing icons. The lens in this gure is set to

the “large group” setting which is a focusing distance of approxi -

mately 3 m.



Project 1

Remove The FilmWhen you’ve gotten to the last frame on the roll, it’s time to advance the

rest of the roll onto the take-up spool and carefully remove it from the cam-

era. Here’s how that is done:

1. Wind the entire roll onto the take-up spool. Turn the lm ad-

vance/winder knob until you feel no more resistance on the lm

winding. The red frame counter window on the back of the camera

should go dark because the paper backing on the lm won’t be vis-

ible any longer.

2. Remove the camera back cover. You should make sure you

are working in subdued light so as not to exposure the lm to light

when removing it from the camera. Slide the fasteners open, and

remove tape, if any, in order to release the camera back, and care-

fully pop the back off.

3. Remove the lm/spool. Carefully and securely remove the take-

up spool with the lm on it. Make sure the lm does not come

unraveled off the spool (tighten it some more around the spool if

possible). Secure the lm roll with tape or moisten the included

adhesive strip so it will stick to the roll and keep it from unravel-

ling.

Once the lm is out of the camera and secured, you can store it in some

light-protected place while waiting to send it off to the lab. Place the spool

that the lm was originally on (still located in the camera) on the other side

of the camera. It will now become the take-up spool for the next roll of lm!

Figure 1.6 The roll of lm is unloaded and secured with

adhesive tape, ready for the lab.



Project 2

Create

Smoke Abstracts

In this project, the randomness of smoke is turned into beautiful abstract

art. The camera captures the ethereal quality of incense smoke and the

rest of the magic is performed in the digital darkroom. The images you cre-

ate will elicit all kinds of reactions as each viewer sees something unique

and telling in the patterns you ultimately create from the original exposures.

Although you’ll have limited control over the shapes and forms created as

the smoke rises from the incense, you’ll have a great deal of control over

the nal mirrored patterns and colors. Images like these are not only fun to

create, but they can also result in surprisingly impressive wall art!

Figure 2.1 (top) and Figure 2.2 (bottom) Smoke abstracts allow you to experiment with shapes, tones,

and colors to create truely unique works of art.



Project 2

What You’ll NeedHere are some of the items you’ll need for this project:

• Incense

• Match (or lighter)

• Small table and incense holder

• External ash

• Tripod

• Dark background material (poster board, cloth)

Project InstructionsGather your materials and follow these instructions for setting up and

shooting the images for this project.

Take precautions when working with matches, lighters, and burning incense so that you

don’t start a re. You don’t want to work with these items around ammable materials.

As soon as you’re nished, make sure you douse the incense in water. Don’t leave it

out or and don’t throw it in the trash.

Setting UpBefore shooting your smoke abstracts, you’ll have to setup your incense on

a support, put up a background, and position your camera and lighting (see

Figure 2.3).

1. Setup the table or other support for the incense. You can

use a dark material in the background to help visually isolate the

smoke in the shot. Make sure there will be enough distance be-tween the incense (and light) and the background so that the back-

ground fades to black in the exposures. For my setup, a black

cloth was used and positioned about 4 feet behind the incense.

2. Setup a camera on a tripod. You’ll want this positioned in line

with the smoke as it rises off the incense. I shot the images shown

here with a 50mm lens about 3 ft from where the smoke was ris-



Project 2

ing. My camera settings were ISO 100, f/16, with a shutter speed

of 1/250 (ash sync).

3. Setup the external ash (off-camera). I positioned my ash

about 2 ft to the left of the incense and slightly behind it. I did this

so that it pointed slightly away from the background. You don’t

want to illuminate the background with spill-off light from the ash,

so you can also modify it with a ag or snoot. I used mine without

Figure 2.3 Smoke photography setup. Black poster board is held by two “A” clamps on a background

stand, ash illuminates the rising smoke off the incense. Distances are approximate.



Project 2

any modiers. You can trigger the ash any way you like (PC

cord, TTL, radio trigger, etc.). How you setup and use the ash

isn’t as important as simply getting it to illuminate the smoke. If

you want more information on setting up off-camera ash, please

see my eBook, 100% Reliable Flash Photography .

PhotographyOnce your project is setup and ready to go, it’s time to take some photos of

the rising smoke.

1. Focus for the smoke. If your camera is congured to autofocus

whenever you press the shutter button, you’ll have to set it up for

manual focus, or use an alternate focus button. It can be hard to

focus on the smoke each time you take a shot. Hold an object just

above the incense stick, where the smoke will be, and focus on

that. Remove it but leave the focus there for your actual shots.

Figure 2.4 Colors add excitement to smoke images, but even black and white versions can contain an

alluring array of tones that create visual interest.

http://www.edverosky.net/products/ebooks/




Project 2

Figure 2.5 Images can be colored and toned in various ways, or even inverted as shown here on the bot-

tom right. The original (non-inverted) mirrored image is bottom left.



Project 2

2. Take some shots. Light the incense and wait for some interest-

ing smoke to rise into the frame. Experiment by disturbing the

air around the smoke with your hand or your breath. The idea is

to create interesting smoke patterns and get some shots to work

with. When you’ve gotten several shots, preview them on your

camera’s LCD. If you’re happy with them, import them into your

computer.

Post-ProcessingThere are several things you can do to enhance the smoke patterns includ-

ing mirroring and colorizing. Here’s what you can do to create the effects

shown in these images:

1. Open an image in Photoshop. Adjust contrast by using Curves

or Levels in order to make sure the background is very dark or

black and the smoke has the look you want.

2. Create a Duplicate Layer of the image. Then ip the duplicate

layer with Edit > Transform > Flip Horizontal.

3. Change the blending type of that layer to Lighten or Screen.

4. Add a Hue/Saturation adjustment layer above the other layers.

Check the Colorize box and adjust the color of the smoke.

5. Slide the top smoke layer, left or right, over the original layer

until you see a mirrored pattern you like. Crop to your taste

and save the image.

Again, this is only one way to approach this type of project. For example,

you might use natural light coming in from a window on one side of the

setup. If the background is dark enough, you should be able to isolate the

smoke in the image. Also, post-processing can involve different coloring

methods (you can use multiple colors and blending types). I’ve seen some

beautiful inverted images, where the background can be turned white. And

you can mirror the original image with vertical ips and other variations.

Some original smoke patterns are so beautiful that they don’t need to be

mirrored or colored at all.



Project 3

Use Noise &

Grain for EffectNoise seems to be one of those things that some people really try to avoid

with their DSLRs. Many photographers shy away from the higher ISO set-

tings on their cameras because, on some cameras, anything above 1600

or 3200 will tend to produce very noticeable noise (similar to the look of lm

grain, for those who can remember what that looks like). When we do get

a little noise in our images, we often resort to the noise reduction features

in our photo editing software to hide it. But is noise always a bad thing?

In the days of lm, that grainy

texture was just a feature of the

medium. It was accepted just

as we accept paint strokes over

canvass. But when digital hit

its stride, and we could virtuallyeliminate the look of grain (digital

noise) many thought it was

the answer to a problem. But

eventually, there was a backlash.

Many of us longed for the look of

analog images, even if we had to

use our digital cameras and special

techniques to achieve it.

Actually, the texture and nostalgia

of grain is so popular, a “grain”

effect is available with many digital

processing software packages.

The most popular camera and

photo sharing apps have all kindsFigure 3.1 For this vintage lm look, grain was

added via the Lightroom Grain effect.



Project 3

of noise, grain, and texture effects that essentially bring the high-resolution

images from a phone camera down to lo- texture-laden mini works of art.

In this project, you’ll create some effects with digital noise.


• Photos from any digital camera.

• Image editing software. Packages like Lightroom, Photoshop,

GIMP, and various camera apps all provide some way of adding

noise texture to your images.

Project Instructions Although most of today’s DSLR cameras are quite capable of minimizing

noise, even at higher ISO settings, it is possible to get some good grain

effect right out of the camera. To get this effect, I will often underexpose in

low-light environments, then emphasize the noise as I bring the exposure

back up in post-processing.

Figure 3.2 A view of the Brooklyn Bridge with a black and white lm grain effect. A noise layer was added

in Photoshop with a Linear Light blend at an opacity of 50%.



Project 3

The easiest way to gain control over just the right amount, size, and vis-

ibility of the noise/grain in your images is with post-processing. Open your

image in your image editor and follow these instructions:

To do this in Lightroom:

1. Use the Grain effect. In the Develop module, you can use the

Grain effect sliders in the Effects panel. In the current version of

Lightroom you’ll nd the following sliders:

• Amount. This controls the amount of grain added to the

image.

• Size. You can choose the grain particle size here.

• Roughness. This allows you to cut down on the sharpness

of the grain; it softens the look of the particles.

Figure 3.3 A heavy grain effect added in Lightroom.



Project 3

Here is one way to do this in Photo-

shop:

1. Add a grain layer. Create a

new empty layer above the im-age layer (or background layer

featuring the image). Click Edit

> Fill and under Contents in

the Fill dialog box, choose 50%

Gray for the ll color.

2. Add noise to the gain layer.

Next, with this new layer still

selected, in the menu choose,Filter > Noise > Add Noise.

Add a small but noticeable

amount of noise, a distribution

of Gaussian and select Mono-

chromatic.

3. Blur the grain slightly. Still

working with this layer, use the

menu to select Filter > Blur> Gaussian and use a small

amount of blur to give the noise a realistic lm grain look.

4. Blend the grain into the image. Now in the Layers panel, you

can use the Overlay or one of the other blend modes for the grain

layer. Adjust the opacity to taste and you’re done.

In the open-source image editing package, GIMP, you can do something

similar by adding a medium gray layer over the original image, then usingthe Noise lters, their controls, and blending options to create the look of

grain.

There are also many effects presets for the products mentioned above that

can do most of the work for you. Alternatively, you can import your images

to a device that hosts a photo effects app and use that to easily add grain

and other effects to any image.

Figure 3.4 A heavy grain effect using Photoshop.



Project 4

Fruit and

VegetablePortraiturePortraiture is the art and craft of rendering a person’s likeness. When

we create photographic portraits, we often start by looking for the unique

characteristics of our subjects. We’re not intrigued by the generic qualities,rather we look for something special that sets them apart.

Produce, just like people, can be placed generically into types and catego-

ries, but within those groupings, no two are exactly alike. As photogra-

phers, we want to learn to see and celebrate the individual. When working

on this project, you’ll see how the mere act of looking for your subject helps

hone your skills at looking for and recognizing the uniqueness of each indi-

vidual in a sea of types. Lighting and posing is where the magic happens.

Figures 4.1-3 Each of the vegetable portraits on this page were of the same red bell pepper shot at

different positions under a standard household lamp.



Project 4

When you begin to appreciate your human subjects this way, you’ll have

learned to better identify their unique physical characteristics and how to

model them under the light. To see them not only as people, but also as

shapes and forms, will help you discover ways to pose and light them more

creatively.


• Fruit and/or vegetable. Look for produce with some personality.You’ll occasionally come across some that really catch your eye.

• Household lamp or some other small constant light source.

• Black or white surface and background. To keep the image

simple.

Figure 4.4 (left) Shape and texture, highlights

and shadow, all help tell the story of your subject,

and how you see them.

Figure 4.5 (right) Explore the unexpected

perspectives to see what appears.



Project 4

Project InstructionsGather your materials and follow these instructions for setting up and

shooting the images for this project.

Setting UpHere are the steps for setting up your fruit or vegetable portraits:

1. Place the subject. Set a single fruit or vegetable on the black or

white surface and make sure the background is of the same color.

Alternatively, you can shoot the item from above making a sepa-

rate background unnecessary.

2. Hold or setup a lamp. This should be placed above and slightly

to one side of the item you’re photographing. The lamp should be

easy to move as you photograph.

Figure 4.6 (left) Simple setup with black poster board and black crafting foam. The background can be

farther away from the subject if necessary to help prevent it being illuminated by the lamp.

Figure 4.7 (right) Radish bunch.



Project 4

PhotographyBefore actually shooting, take a good look at how the light and shadow are

affecting the look of the subject. Position the item in different ways and

watch how the shadows change and how the textures become more, or

less, visible. It’s this rst step of “seeing” the portrait before you capture it

that is so crucial. Move the light around the object, too and watch for its ef -

fect over the object and the surface/background. As you nd combinations

of light and angle that resonate with you, snap the photographs.

Post-Processing As you would with human subjects, you might want to address issues with

what you perceive as distractions and imperfections in the texture of the

item photographed. You might also notice issues with the surface or back-

ground in the shots. With some shiny surfaces, hard highlights are poten-

tially distracting, so take steps to tone them down. Boosting the contrast

and adjusting the saturation are often good options, too.

Figure 4.8 Pear on black.

Figure 4.9 Yam on white surface.



Project 5

Do a 365 Project

in One Day

365 photo projects are alive and well. As you probably know, the idea be-

hind something like this is to take at least one photo a day, based on a cer-

tain theme, or not, and post it up for others to see. It could be a self-portrait

each day for a year, or a way to document your meals or some activity, or a

freestyle project; shoot anything that you nd interesting. The purpose isnot only to have fun, but to learn something and develop your skills and an

eye for the beauty in the everyday things that make up your life.

One of the biggest benets of doing a project like this is the feeling of ac-

complishment at the end of the year. But that year-long commitment is

challenging and it can lead to frustration and discouragement when a day

or two has passed and you’ve forgotten to shoot a photo or simply didn’t

feel well enough or inspired to do so. Your photography should be a source

of fun and not something that leaves you feeling defeated.

So, rather than tackle the typical 365 project, here’s another challenge for

you: shoot a whole year’s worth of photos in one single day! It’s the 365

project in hyper-drive. Yes, you’ll still have the creative challenge of making

interesting images, but now you’ll have to meet all those challenges in a

matter of hours. Now that’s an exercise in creativity!



Project 6

Add Texture to

Your PhotosIn the digital darkroom, available on desktop and mobile devices, almost

anything is possible. With a few clicks of the mouse, you can replace back-

grounds in an image, or create richer colors, or add a vintage effect (see

Figure 6.1). So many things are possible, that it becomes hard to imagine

pushing a photo out onto the web these days without processing it through

a lter or effect.

But just because the effects are so easy to apply doesn’t mean you have

to throw every one of them at a photo, drastically changing its look. Some

subtle effects can be good, too. It really all depends on what you want to

say with your photo. In this project, you’re going to explore adding subtle

textures to your images. Instead of making your photos about the textures,

make the textures about the photos. Let the effects you apply help tell the

story without overpowering it.

Figure 6.1 Two textured images created with the iPhone and the Snapseed app (Nik Software).



Project 6


• Image editing software. This can be anything from the latest full

version of Photoshop to something like the Snapseed app avail-able on various devices.

• Texture images. Many image editors with effects packages come

with a set of built-in textures. You can also nd free texture im-

ages on the web; many people are happy to share depending

on how you plan to use their images. Of course, shooting and

working with your own texture images will make yours truly unique.

The following textures (Figure 6.2) were shot with an iPhone as

they were discovered on and around a local sidewalk. One was

used for the project instructions that follow.

Figure 6.2 Found textures collected with an iPhone.



Project 6

ExampleIn the following example, the layer and masking techniques described

above are used to produce an image with a subtle texture effect. An im-

age featuring a subject and a plain background is opened in Photoshop. A

texture image is also opened.

Figure 6.3 Original image (left), and texture image (right).



Project 6

After placing the texture image in a layer above the original image, it is

sized and its layer blending mode is set to Overlay. The effect is nice ex-

cept for what it does to the subject’s face (see Figure 6.4).

Figure 6.4 The texture image has been placed on a layer above the original image. The Overlay blend -

ing option has been selected for the texture layer.



Project 6

Figure 6.5 A layer mask has been added to the texture layer. Painting over areas of the layer mask

prevents the texture from appearing just underneath those areas on the image layer.

A layer mask is added to the texture layer and a brush is used to paint over

the skin areas so that the texture does not show through to the skin as

shown in Figure 6.5.



Project 6

Experimenting with blending modes on the texture layer is a good way to try

out different effects (see Figure 6.6). Inverting or creating a negative image

of the texture might also yield interesting results as shown in Figure 6.7.

Figure 6.6 Blending mode of the texture layer is changed to Hard Light, producing this effect.



Project 6

Other techniques and software allow you to add texturing to your images in

a variety of ways. Here, we’ve shown a simple but exible way to control atasteful, subtle texture effect in Photoshop. By masking and otherwise cre-

ating selective texturing effects, you can take advantage of textures without

subjecting every part of the image to them.

Figure 6.7 Same image, texture, masking and blending as previous image, except that the texture

portion (not the mask) has been inverted using Image > Adjustments > Invert.



Project 7

Shoot a Band in

a Small VenueOne of the most challenging things to photograph is a live music perfor-

mance (concert), especially in a small venue where the lighting can be

deplorable. At times small venue lighting can be to be too dim, or harsh,

or excessively colorful. When shooting in this type of environment, where

a photographer essentially has no control over the lighting or the subject,

you’ll learn to nd ways to get good pictures in the positions you take uparound the stage, your timing, and in the upper limits of what your gear is

capable of.

Live music photography isn’t just about taking photos of what’s on-stage,

from one vantage point, it’s about seeing the individuals in the band as

people and performers. You’ll learn to gauge a musician’s movements and

watch for interesting displays of emotion, all the while keeping an eye out

Figures 7.1 Patricia Vonne. 85mm, ISO 1600, f/1.8, 1/125 sec.



Project 7

for that surprise moment when something unexpected and dramatic occurs.

Photographing bands and performers will help you with your photography

in general. It teaches you to nd angles that make the light work for you

and to see the details as well as appreciate the scene as a whole. It will

also encourage you to make the best use of your gear in almost impossible

lighting conditions.

What You’ll Need to KnowHere are some suggestions for this project:

• Ask permission. Smaller clubs with lesser-known bands usually

have no problem with photographers taking a few shots up around

the stage. But it’s always a good idea to ask someone at the club

(as well as the band) if it would be okay to take some photos dur-

ing the performance.

• Don’t use a ash. Not only does an on-camera ash tend to

result in horrible photos in smaller venues, but it can be very an-

noying to the band and the audience to see a ash ring repeat-

edly in front of them. Besides, this project is about learning to use

your camera and lenses when pushed to their limit. This means

high ISO settings and wide apertures. Learn to use the light given

to you during the performance, and you’ll grow quickly as a pho-

tographer.

Figure 7.2 Keyboard

detail. This image was

taken under hard red

lighting but looks good

after a conversion to

black and white.



Project 7

mances, so if you feel generous, send them a few digital copies when you

have time. When you’re at the venue make sure you nd a spot up near

the stage and try to get the type of shots listed here:

• Band interacting with each other during setup

• Detail shots of musical instruments and gear

• Wide-angle shot of the entire band

• Shots of individual members performing

• Shots from the front, corners, and interesting side and rear

angles of the stage if accessible.

Figure 7.5 (left) 85mm, ISO 3200, f/1.8, 1/80 sec.

Figure 7.6 (right) 50mm, ISO 6400, f/2.8, 1/40 sec.



Project 7

PhotographyKnow that you’ll have to

push your camera to its

limits and shoot at very high

ISO settings in some ven-ues. Use a wider aperture

of f/2.8 or so and be sure to

shoot in Raw so that you’ll

have as much leeway as

possible for exposure and

color adjustments in post-

processing.

Post-Processing As noted earlier, small

nightclub stage lighting is

notoriously bad so post-pro-

cessing is where you’ll need

to make up for it. Here,

you’ll likely have to x hot

spots and underexposed

areas in the same shot.

Also, very red and very

blue/purple lighting can wreak havoc on your images. So learn to adjust

the color sliders in your Raw conversion/editing software to make the most

out of the images. Sometimes you’ll nd the best all-around solution is to

simply convert an image to monochrome to avoid dealing with the color

issues altogether.

Above all, have fun with this project. It’s a great way to learn to deal with avariety of photographic challenges which will denitely help build your skill

set. You’ll gain the condence of knowing you can make great shots out

of bad lighting, and create performance portraits even when you have no

control over your subject’s expressions and posing.

Figure 7.7 Position yourself not just directly in front of

the band, but also at vantage points that allow you to use

the stage lighting for dramatic effect.



Project 8

Create a

ClassicPortraitClassic lighting patterns dene some

of the long established conventions

in portraiture, and for good reason.Human faces and gures, and the

general criteria we measure beauty by,

have remained amazingly consistent

from generation to generation. It would

follow that the way we prefer to see

light and shadow fall across another human face must be somehow hard-

wired into us.

Traditional lighting patterns, rst discovered and distilled by other visual art-

ists such as painters, were not invented arbitrarily, but identied over time

as the most appealing, and eventually made their way into the standard

methodology. The way we light and model a human face has everything

to do with how viewers will perceive that face and indeed the mood of the

portrait.

In this project, you’ll be introduced to the most fundamental and universally

appealing lighting pattern created by simply placing the light in the rightplace in relation to your subject’s head (or by placing your subject in the

right spot under the light). You’ll discover the importance of the size and

position of your light relative to your subject. Once you’ve mastered this

basic pattern, you’ll be equipped to move on to other lighting patterns, ll

lighting, and multiple light setups.

Figure 8.1 Classic-style lighting created with

ash unit and umbrella modier.



Project 8

What You’ll NeedBecause the classic portrait is

based on a single light source,

that’s all that’s really required

besides a camera and a subject. A ash/strobe or a constant light

source, as well as natural light,

can all produce great lighting for

classic portraiture.

Of course, the size of the light,

relative to your subject, and its

position will affect the overallquality of the portrait. A larger

light source (or a small one

modied with a large diffuser, for

instance) will provide softer shad-

ows when positioned close to the

subject. A smaller light source,

relative to your subject, will result

in harder shadows and contrast. Just as important are the position of the

light and turn of your subject’s head, which will both affect the direction of the

shadows across your subject’s face.

It turns out that what you’ll need is whatever it takes to get the quality of light

you want for your portrait. So, in the sections that follow, we’ll take the time

to discuss three types of lighting that can be used for the classic portrait:

• Flash/Strobe. If you’re using a small off-camera ash or some

other type of strobe, you’ll need some way to diffuse that light andcreate a larger surface of light relative to your subject, as well as

some way to position it. The solution to this would likely be a light

stand and a softbox or translucent umbrella modier. A way to trig-

ger your off-camera strobe will also be needed. This could be some

type of radio trigger or a dedicated light or IR trigger.

• Household Lamp. A household light can also be an excellent

source, but a bare bulb might result in harsh shadows. A lamp with

Figure 8.2 Shadows take on a different look as the

subject turns his head in relation to the light.



Project 8

a large lamp shade and/or diffused with fabric, however, will pro-

vide softer shadows if placed within a couple feet of your subject.

• Natural Window Light. Natural daylight coming in through a win-

dow, especially with large translucent curtain panels, can provide

very pleasing light. The classic portrait will benet from your ability

to ag off the window light so that your subject appears to be il -

luminated mostly from just above their head, rather than from lower

than the chin.

Project InstructionsIn order to create the classic portrait, you’ll want to pay special attention to

the contrast and light/shadow patterns created by your light source uponyour subject. In the following examples, we’ll create a classic feel by ap-

proximating the so-called Rembrandt lighting style using a ash, household

lamp, and natural window light. The idea is to illuminate your subject with

light coming in primarily from a position above and to one side of their head.

Effective classic portraits generally contain one or more of the following

characteristics:

• Shadow Pattern. Variations on Rembrandt lighting will display a

triangle or diamond shape of light on the shadow side just under-

neath the eye, to extend down toward the mouth. For this project,

the goal should be to see the shadow from the tip of the nose fall

below and to one side of the nose.

• Catch Lights. Eyes look rather lifeless without catch light reec-

tions off the main light. The light and/or your subject should be

positioned so that the small glint of light appears at about the one

o’clock or 11 o’clock positions in the eyes, depending on which side

of your subject the light is placed.• Contrast. Another characteristic of classic one-light portraiture is

relatively high contrast. There is often plenty of shadow associated

with a classic portrait. Indeed, classic portraits are often low key or

dramatic-looking images.

Keep in mind that the following examples only serve as starting points, and

you should experiment to nd the angles you like best. Backgrounds should



Project 8

be simple and free of distracting colors or patterns. Solid dark colors and

classic mottled backdrops work well.

Flash With Umbrella Modifier

In the diagram below, our single light source is positioned about 3 ft from

our subject and in the 45/45 position. Roughly, this means the light is 45

degrees to one side of the subject, pointed down at a 45 degree angle from

above the subject.

Figure 8.3 Strobe with shoot-through umbrella modier.

Household Lamp As discussed earlier, ash or studio strobe equipment isn’t necessary for

creating beautiful classic portraiture; any standard original light source can

work if modied and positioned correctly. In this case, a household lamp is

modied with a sheer fabric over the lamp shade. As with the ash example

above, position the subject and/or the lamp so that it illuminates the subject

from a position approximately 45 degrees to one side, and 45 degrees



Project 8

Figure 8.4 Floor lamp with white fabric to help diffuse the light coming from under the lamp shade. Our

subject sat on a stack of books to bring her to the correct height relative to the lamp illumination.

above the subject’s head. The advantage of a constant light source over

a ash/strobe is that you can see the quality of the light and the shadow

patterns created in real-time. This is a great way to learn how to light a

portrait.

Natural Window LightOne of the most effective ways to achieve beautiful classic lighting for por-

traiture is with natural light coming in through a sufciently large window

diffused with white translucent panels or sheers. The challenge is to make

sure the light is sufciently directed to approximate the 45/45 position and

correct shadow pattern.

On larger windows, windows with lowered shades or blinds, or windows po-

sitioned lower than the subject’s head, an undesirable lighting pattern could



Project 9

Create an

EtherealHigh Key

PortraitIn still photography, “high key” and “low key” are terms generally used to

dene images that are predominately brighter/whiter in tone, or darker/

blacker in tone, respectively. While low key images are heavy and dramat-

ic, high key tends to offer a lighter and airier appeal. High key images are

great for expressing positivity, etherial beauty, and openness. This makes

high key great for certain types of portraiture and scenery.

By experimenting with high key lighting, you’ll learn to address issues of

background, lighting angle, and overall exposure. Post-processing also

plays an important role here, as the nishing touches in a high key image

are often done there.

There is no single best way to approach the creation of a high key image,

so we’ll cover some basics here for you to use as a jumping-off point for

creating your own. Remember that it’s the end result that denes it as high

key, not how you get there. So, experiment and see which techniques

serve you best.

What You’ll NeedSince high key images can be put together a number of ways, you won’t

need everything in this list. So, take these as suggestions that apply to

more than one type of high key image:



Project 9

• Flash unit(s). Basic hot shoe ash units positioned off-camera, or

studio strobes. And of course, some way to control and re them.

See 100% Reliable Flash Photography for complete details on

how to work with ash and how to setup off-camera ash.• Umbrellas, or a very large softbox. These can be useful for

wrap-around lighting from behind your subject.

• White or light-colored wall. Your background should be very

light in tone, and striking it with a little light should help it appear

that way in your images.

• Window light. A good amount of diffuse light coming in through

a large window with white translucent panels behind your subject

can help create beautiful wrap-around high key effects.

• Light and airy clothing for your subject. While dark colors

can work, they don’t lend to the light and open feeling that often

denes a high key shot. I often use a large white fabric, draped

around my subject for this type of effect.

Project Instructions

Once you’ve found someone that you think will make a good subject foryour ethereal high key portrait, you’ll need to determine where the photo

should be taken. As noted earlier, if you’re lucky enough to have a large

window with a good amount of diffuse light coming through it, that might be

a perfect starting place. Otherwise, the main idea is to hit your background

with plenty of overpowering light, or use light AS the background. That is

to say, you’re trying to overexpose or blow-out your background to desired

effect. You don’t need a tremendous amount of light, because you’ll create

the overexposure with your camera settings and/or post-processing.

PhotographyIf you have a big white wall or background surface to work with, you can

point a strobe or ash unit directly at it in order to blast the area behind the

subject with light. When I only have a small ash unit to work with, I’ll put it

in Manual mode and set the ash to 1/8 power or higher, depending on the

aperture and ISO I’m working with. Keep in mind that with wider apertures





Project 9

Figure 9.2 Here, a single ash is used to illuminate the wall and the subject from behind. A nice see-

through effect was achieved with the sheer fabric as the light coming in from behind the subject created

somewhat of a silhouette.

Figure 9.3 Two lights, modied by umbrellas, were used to create this effect.



Project 9

of f/2.8 or f/1.8, and a relatively high ISO (400, 800, or more), will allow youto drop the power of the ash unit down a bit. Getting the most from your

ash without using higher power settings can be good for conserving bat-

tery power and it can also boost your recycle times. If you’re using more

ash units, or higher powered strobes, you’ll have the luxury of smaller

apertures and lower ISO settings.

There are other effective ways to bath your subject in background illumina-

tion. The illustrations featured in this chapter show how I used ash units

modied with shoot-through translucent umbrellas for various effects. Doyou need a main light or some other type of illumination for the front/visible

side of your subject? You can denitely do that, if that’s the look you want.

But if you would like something a little less slick and more ethereal, you can

do this without adding more light and simply let the background light do its

thing as it bounces around the room. Some of that light will hit your subject

on the camera side, too. Take a few test shots to see where this takes you.

Figure 9.4 Even a standard two-light setup like this can produce the beginnings of a good high key

image. This image was mostly made up of lighter tones to begin with, but bumping up the exposure in a

Raw converter or image editing software can help create the high key effect shown.



Project 9

Camera SettingsYour camera settings are going to vary widely based on the type, power,

and positioning of the lighting. If your only real light source is coming in

from behind the subject, the settings you use will determine the amount of

overexposure you’ll achieve for the background, but it can also determine towhat degree your subject will appear as silhouette. In a smaller room with

lighter-colored walls, an overexposure of the background light will allow your

subject to be more visible under the lesser illumination of the light scattering

back to her from the walls.

As a rst step, let’s say your setup is provid-

ing you with a good amount of overexposure

on the background with the following camera

settings: Manual (“M”), an aperture of f/4, anISO of 400 and shutter remaining constant at

1/250.

Next, you place your subject in the frame to

take a test shot which produces a silhouette

with very little detail on the subject as shown

in Figure 9.5. That might be exactly what

you’re looking for. However, if you’d like to

get a little more detail (make her more vis-ible and not just a silhouette), you can either

widen your aperture to f/2.8 or more, or you

can bump up your ISO to 800 or more.

If using only ash, altering the shutter speed

won’t be very helpful. Keep moving that ISO

up to see what you get out of the light and how it illuminates your subject.

Otherwise, use a reector or other light as shown in Figure 9.6.

Post-ProcessingFor me, this type of shot is only partially complete right out of the camera.

I know as I’m shooting these images (always in Raw), that I’ll be adjusting

exposure and contrast with both my Raw converter and Photoshop in order

to ne-tune the work. This is similar to what photographers used to do in the

darkroom when they used variable-contrast paper and experimented with

exposure times under the enlarger.

Figure 9.5 Backlighting can produce

a silhouette effect.



Project 9

As you look through your images from this project, identify some that you

think will look great as monochrome or split tones. Experiment with the

amount of contrast the images receive in order to emphasize a silhouette

or alternatively bring out more detail in the subject. The latter, especially

when shot with high ISO settings, can produce some intriguing texturebecause of the noise that becomes visible.

Figure 9.6 The subject was positioned near a corner (where two white walls

meet). A ash was pointed behind her at the corner. Another ash illuminated

her from the front.



Project 10

about your photography. In fact, it sets up a new dynamic in how you inter-

act with your subjects and the environment around you.

Project InstructionsMount a 50mm or other normal xed length lens (e.g. a 35mm) on your

camera and commit to leaving it there for one week. If you do not have

access to a normal xed length lens, you can alternatively limit yourself to

ONE specic focal length on your zoom lens for the entire week. Your goal

is to end up with at least 25 images that you are happy with by the end of

that week.

This challenge will hopefully open up a new way of seeing and relating to

your world as a photographer. You should feel a new sense of condenceand control when going back to the convenience of your zoom lens. You

might even decide that zooms are no longer your lenses of choice!

Figures 10.3 Off the docks, Hudson River, NYC.



Project 11

B&W for One Week Here’s another creative exercise based on the idea of limiting some optionsin favor of developing new insight. But for this challenge, you won’t be

limited by xed focal length (see the 50mm for One-Week Project ) lenses.

Instead, you’ll be photographing in black and white, and in the JPEG format

only. Not only will you have to make the mental adjustment of pre-visual-

izing your images where color and tones are concerned, but you’ll have to

photograph without the exposure latitude safety net provided by Raw les.

In everyday shooting, we’ve got the option to capture the maximum color

and exposure information our cameras will allow with Raw les. We can

then choose to convert to monochrome in a variety of ways giving us a

great deal of control over the nal look of our black and white images. But

for this exercise, I want you to think in terms of controlling most of the op-

tions for your black and white shots in-camera.

Figure 11.1 Brooklyn, East River.



Project 11

Seeing in Black and WhiteIf you’ve not shot specically for black and white, this exercise will be a

great way to understand what goes into pre-visualizing, or “seeing” in black

and white. Mentally, you’ll nd yourself stripping away the color informa-

tion and focusing on the shades and tones in a scene. You’ll start to see

shapes and contrast in a different way. Light and shadow will take on a

new signicance. This will, of course, not just improve your black and white

photography, but will help you identify these important components of a

scene in color, too.

Creating Good ExposuresSetting your camera up to record photos as Raw les is normally preferred

over JPEG-only capture because Raw retains all of the image data your

camera can record. This means you can make major corrections and other

adjustments (e.g. white balance, exposure, contrast) later in the editing

stage. Thus, Raw capture is the most responsible way to go if it doesn’t

adversely affect workow, storage limitations, and delivery times.

But where Raw can provide you with all the benets associated with post-processing, it might also give you a sense that you don’t have to be quite

as careful with your camera settings since you can “x it in post.” In fact,

exposure corrections, as useful as they may be, are always going to be

limited to some extent. If you’ve actually blown the detail out of the brighter

areas of your image for instance, nothing in the Raw le will allow you to

bring them back in post. The best scenario, of course, is to capture your

exposures as intended during the photography, and use any post adjust-

ments to your Raw data to tweak any weak areas. Things like color adjust-

Figure 11.2-11.3 B&W lm images.



Project 11

ments and other effects that are

possible in editing are the icing on

the cake.

In this exercise, you’re going to

take away much of the safety

net that Raw les provide and

concentrate on getting good initial

exposures. Doing this for a week

should help you gain an apprecia-

tion for maintaining proper expo-

sure settings that can only benet

your photography overall.

Figure 11.4 Portrait.

Project InstructionsSet your DSLR camera to shoot in monochrome and JPEG-only format,

and commit to leaving it on those settings for one week. Your goal is to end

up with at least 25 images that you are happy with by the end of that week.

Alternatively, you can shoot some or all of the images with a lm camera

and B&W lm.

This challenge is a great way to practice pre-visualizing your images as

they’ll appear in their nal form; you’ll learn to think in terms of the nal

photograph rather than just the view in front of your lens. If your camera al-

lows you to preview the scene in black and white on the LCD screen before

shooting, that would defeat the purpose, so don’t use that feature.

Shooting in JPEG (or on lm) also effectively locks-in the monochrome and

exposure settings. Knowing this compels you to stop thinking in terms of“xing it in post” or adjusting colors after the fact. Certainly, there are some

adjustments you’ll be able to make once the images are imported to your

computer, but tweaking contrast and adjusting brights and darks within the

limits of your JPEG les is fair game.



Project 12

Tell a

Story with

MultipleImagesThe diptych, two images fea-

tured side-by-side, has long

been an effective device for

telling a visual story or creatinginterest in a way that each im-

age couldn’t do on its own. Of

course, this device doesn’t have to stop with just two images; you can use

as many as you like. The iconic Marilyn Diptych (1962) by Andy Warhol

actually consists of two panels of 50 variations of a single image.

A multiple-image piece can be presented as physically independent but

grouped or connected images, or as digital collage. There are a variety of

computer and mobile apps that allow for the easy creation of diptychs and

collages like the one shown in Figures 12.1 and 12.2.

Multiple image groupings are actually quite commonplace and used exten-

sively in wedding album designs, some types of portraiture products, and

in a editorial pieces. But these groupings aren’t always planned. What’s

great about working with image groupings is that you can go back and nd

images in your archives and give them new life and signicance!

Figure 12.1 Diptych.



Project 12

Whether you’re using two images or several, it’s the relationship between

the images that give meaning to the grouping. Logical (and sometimes

nonsensical) relationships between images featured in a diptych or a trip-

tych (three image sequence) might be:

• Temporal. Showing how something is changed by time passing.

• Spatial. Showing how something is changed by distance or

perspective. The same object, for instance, can be shown from

different angles to communicate something about the object not

possible with just one image.

• Detail. It can be interesting to see the overview of a scene or

object and then a close-up, detailed view of a feature.

• Sequence. Multiple images can be used as a storyboard deviceto tell a short story or explain a process.

• Juxtaposition. An obvious relationship between images isn’t

necessary for a multiple image piece to be successful. A grouping

of two very identical or seemingly unrelated images might deliver

a message or association that transcends what each image could

have communicated on its own.

Figure 12.2-12.3 Three images featuring shots from around the Atlantic City Boardwalk (right), and

two images at the same location and vantage point in Central Park, NYC, seasons apart (left). Col-lages created with the Pic Stich app by Big Blue Clip, LLC.



Project 12

What You’ll NeedCreating a physical image grouping is simple enough. You can purchase a

matte board with two or more cut-outs, a diptych or triptych hinged frame,

or simply display two or more prints in an obvious grouping.

Digital groupings can also be created with various software, including stan-

dard photo editing programs.

• Pic Stitch. An app available for mobile Apple devices. There are

others that provide similar functionality, including Photo Grid for

Android phones. Images which were taken with your phone, or

imported to it, can be placed in a variety of pre-set layouts.

• Lightroom. The Print module in Adobe Lightroom allows you touse and create templates for multiple image groupings. You can

choose to either print to paper or to JPEG format.

• Photoshop. In Adobe Photoshop and Photoshop Elements (and

other layer-capable image editing software, including the open-

source GIMP package) you can simply drop images onto a back-

ground of white, or some other color, and size and drag them to

create the image grouping you want.

Figure 12.4 Juxtaposition.



Project 12

Project InstructionsYou’ll create the following types of diptychs and triptychs for this project:

• Diptych: Overview to detail. Place a wide shot of a scene orsubject on the left-hand side and a detail view of an object appear-

ing in the scene on the right. For example, a portrait of a dancer

coupled with a shot of her slippers or hands.

• Triptych: Sequence. From left to right, show a clear sequence of

events with simple images. An example of this might be someone

taking out a cigarette, lighting it, and exhaling smoke.

• Triptych: Story. From top to bottom, tell a short story with just

three images. Perhaps a change in emotion as a child is present-ed with a gift, opens it, and is surprised by what’s inside.

• Diptych: Juxtapose. Use completely unrelated images to dem-

onstrate an irony or make a statement. The message doesn’t

even have to make a point; as long as it evokes a reaction un-

likely had the images been viewed separately.

• Diptych: Very similar images. Place two nearly identical im-

ages side by side in a way that compels the viewer to look at the

subject more closely or in an entirely different way than they wouldif it were a single image. The two images can actually be created

from a single image with some type of variation in the duplicate.

Give the Diptych meaning with this variation.

Learning to think in terms of combining both related and disparate images

will help you synthesize visual elements and whole concepts in new ways.

Grouping objects and ideas can often open the door to new discoveries

where none existed prior to the grouping.



Project 13

Window Light

PhotographyThe potential of natural window light is addressed throughout this book,

but here it’s the focus of our attention and what we’ll use to create a variety

of image types. Yes, window light is that versatile, and magical. And why

shouldn’t it be? An average window can produce light similar to what you’d

get with a softbox. And with curtain sheers and opaque panels it’s possible

to modify the light in a number of ways.

In the following project we’ll revisit classic and high-key looks and create

some still life and silhouette images.

Figure 13.1 Still life illuminated by daylight through a small window just above the table.



Project 13

What You’ll NeedThe following will make for a versatile natural window light shooting space:

• Window. Medium- to large-size window with a good amount of

natural light owing in. The amount and direction of natural light

isn’t something you can always control, but you can determine

when the best light will be available and use various means to con-

trol the quality of it as it comes through the window.

• Dark backdrop/background. A dark backdrop or very simple

background area so as not to detract from the subject is handy.

Since you’ll be using a single light source focused on your subject,

it’s likely that a proper exposure for your subject will result in a

darker background, useful for classic and other styles.

• A normal focal length lens. In smaller spaces, a wide-angle lens

will allow you to get more of your subject in the frame but it can

distort the subject. With a little room and a 50mm lens you should

be able to capture all (or at least 3/4) of a human subject without

distortion. With more room, a medium-telephoto lens can give you

great results. With smaller subjects, still-life work, etc., smaller

working areas will sufce.

• Reective materials. A large mirror, commercial photographyreector (e.g. collapsible reectors by Photoex and others with

silver and gold sides), or any light-colored surface that will help

you bounce light back onto the subject to add a secondary high-

light or ll light.

• Subjects. Find a subject you feel is most appropriate for each of

the exercises in this project.

Project InstructionsSetup and photograph the following using the examples and instructions

presented here as a starting guide:



Project 13

• Classic Portrait. See Create a Classic Portrait detailed earlier

and use window light to create an image with strong side lighting.

• High Key Portrait. See Create an Ethereal High Key Portrait

earlier in this book. A good amount of diffuse light coming in

through a large window with white translucent panels behind your

subject can help create beautiful wrap-around high key effects.

Use a reector or room light to properly expose the subject on thecamera side.

Figure 13.2 Window light portrait.

Figure 13.3 High key portrait.



Project 13

• Silhouette. Similar to above, but keep the light from falling onto

the camera side of the subject. Use higher contrast settings in

post-processing (editing) for darker shadows.

• Still Life. The control you can achieve with still life setups and

window light is just amazing. By moving your still life object(s)

closer or farther away from the window you can see how the

distance really affects the contrast; the transition area betweenlight and shadow decreases as you increase the distance from the

window. The holds true for portraits, too.

Figure 13.4 Silhouette.

Figure 13.5 Still life.



Project 13

This project should give you enough practice with a large, softbox-like light

source (the window) to help you understand what is possible with an actual

softbox or similar light modier. By varying the distance between the light

and the subject, you should also clearly see how it affects contrast. Various

window treatments affect the overall quality of the light and can control spill

and angle of coverage, too. Although you can reproduce many of these

effects with articial light sources and modiers no matter what the lighting

conditions are outside, you might nd that natural window light is your light

of choice when it’s available.



Project 14

Found

ObjectsThis project is interesting in that it

brings up the age-old question about

what denes a work as art. Common

objects on their own aren’t typically thought

of as “art” pieces, yet they can be transformed

into art by simply being designated as such bysomeone with a camera. Arguably, by captur-

ing and framing an object within the context of

“photograph” the photographer elevates that

object to attention-worthy status. By doing so,

the photographer is asserting that it is something

to contemplate or at least view as relevant.

Instagram is an example of a never-ending stream

of found object art, where common objects, even

lunch, are deemed worthy of digital framing, adding

effects to further express a sense, and sharing with others. It’s a good

example of real-time snapshot art. But would these objects be art had they

not been designated as such? All that matters is that they become art once

they are given the role and they’re often accepted as such.

Of course, this is one view but some say found art is a misnomer, that

simply designating an object as an art piece (or making a photograph of anobject) isn’t creating art at all.

There are other questions to ponder: What if, the object is unmoved and

simply discovered and captured as is? What if the object is in fact already

considered a piece of art, as in the case of a sculpture or beautiful architec-

ture? Is photographing it simply copying, documenting, or misappropriat-

ing? What if it is a registered trademark? What if a photographer creates

Figure 14.1 Discarded roses.



Project 14

a beautiful composition of

garbage or animal droppings?

What if the object is moved

or placed in an arrangement

with other objects?

Given some of these ques-

tions, isn’t it reasonable to

ask if photographing a “found

model” in “found fashions”

with a makeup artist’s own

work covering the model’s face, in a room designed or decorated with a

host of other objects that the photographer had no hand in creating is really

just another form of arranging found objects and other works into a “found”

piece? Where do we draw the line between what is a found object and

what is not?

Fortunately, you don’t have to answer to these questions to enjoy the pro-

cess of discovering found object photography. To complete this project,

all you have to do is nd objects that interest you and give them their own

stage and spotlight.

Project InstructionsWith any type of camera, create a found object photograph in all of the fol-

lowing categories:

• Desk or Workspace. Whether you keep your work area immacu-

lately organized, or in perpetual disarray, take a look and see how

visually cropping a section of the space, or rearranging certain

objects will make a portion of the area seem that much more inter-esting. Although you can choose to tell a story with the arrange-

ment of your objects, you can also photograph them in such a way

as to be almost unrecognizable.

• Street. Fashion and commercial photographer, Irving Penn, cre-

ated a series of images featuring discarded cigarettes and other

objects. Items you nd on the street, sidewalks, and gutters can

be arranged on a sheet of paper as if they were relics of interest.

They become that, actually, when you present them that way.

Figure 14.2 Old camera.



Project 14

• Attic or Storage Space. A dusty old book, antiquated tool, or

common kitchen staple product in its original, decades-old pack-

aging, are all treasures that can be found and given new life as

subjects in a nostalgic image.

• Nature. Small rocks, leaves, twigs, and seashells are all goodcandidates for a found object composition. Either in or near the

area you found them, or placed on a plain surface, you can ar-

range different objects in unusual patterns or photograph them

individually.

As you work through this project, you should start to get the sense that

beauty, as you see it, can be found almost anywhere, in almost anything;

you just have to be open to it.

Figure 14.3 Items found in the kitchen sink.



Project 15

Create

(andBreak)

SymmetryOur brains are setup to notice things

that are out of place. This is a skill

that helped keep our primitive ances-

tors safe from predators and helped

them to quickly identify their own prey

in known spaces.

Any break in the pattern got their at-

tention, and that tendency to notice

something out of place is still with us today. Perhaps the visual simplicity

and predictability of symmetrical objects and spaces appeals to us not so

much because things are “in place,” but because it allows us to quickly

identify things that are not perfectly aligned. That’s when things become

interesting.

Symmetry comes in several forms including rotational (an object looks the

same when you rotate it, or your view, around a center point) and bilateral

(from one vantage point, the object appears to mirror itself from left to right,

or from top to bottom). It can be thought of as a pattern. Bilateral sym-

metry, a pattern of two. There’s one side of the object and the identically

mirrored other side. Sometimes this is inherent in the subject being pho-

tographed, and sometimes the symmetry is a result of something like an

actual mirror reection (e.g. mountainside mirrored in a lake).

Figure 17.1 Structures/Architecture. Symme-

try is often a design feature in structures which

makes it a real subject of its own. But just as

with any repetitive pattern (or the duplication/

mirroring of one side of the image) introducing

an element that breaks the symmetry can do alot to ground the image.



Project 15

When a photograph is composed to highlight the symmetry of a scene,

there is a chance that the subject will get lost or become less important to

the viewer than the symmetrical pattern. This is often the intention. But

we can change up the look of a symmetrical scene by introducing a new

element, recomposing, or adjusting one side of the image. A break in sym-metry is a point of reference, a way to ground the subject and make it more

than a pattern. So, it turns out that identifying symmetry and learning how

to break it up are both useful skills.

Figure 17.2 Series/Patterns. When a series of objects creates a pattern that seems to simply repeatitself it lacks a point of interest, so look for a break in the pattern or recompose so that you are not creat-

ing a left-to-right mirror image. It helps dene the pattern as well as the break. In this lighting xture,

three things are breaking up a potentially perfect symmetry: shadows and highlights, the composition,

and the slight but noticeable misalignment of some of the details on the xture itself.



Project 15

Project Instructions

Use the following prompts to create your own symmetrical images, and tond ways to break the symmetry in an elegant and meaningful way:

• Corner Of Building. Look up at the corner of a building and com-

pose for a perfect symmetry. Although you won’t be able to control

things like lighting, open vs. closed windows, mounted signs,

clouds, and power lines, you will often have access to more than

one corner of a building. If you don’t nd what you’re looking for

with a particular structure, move on to another.

Figure 17.3 A view of the one of the Pools at the 9/11 Memorial in NYC. Notice how the beautiful sym-

metry of this angle and the reections in the water compliment each other. By including the background

we further break down the symmetry of the entire frame and provide a sense of the Pool’s size.



Project 15

• Naturally Occurring Symmetry. Nature is very good at creat-

ing duplicates and symmetry. Some of nature’s designs are very

close to being symmetrical, but just short of perfect, which makes

them all the more beautiful. Find a natural, symmetrical object and

photograph it to highlight this characteristic.• Machinery and Technology. Symmetry is a major design feature

in many man-made objects and parts. Find an object that has

been designed to function similarly on two sides and photograph

it to show both a side view, essentially hiding it’s symmetrical de-

sign, and a straight-on view displaying it’s two identical sides.

• People. Ask someone to pose for you in an outt that is the same

on both sides (from left to right), or nude. Have them comb or

style their hair to be the same on both sides (or wear a hat). Fi-

nally place them against a plain background and have your subject

pose in a symmetrical way; arms and legs in the same position

on both sides. Try to create as close to a mirror image from left to

right as possible. Then add a single change or element to the im-

age to make it obvious that it is not in fact a digital manipulation.

Figure 17.4 Naturally occurring symmetry.



15 Photo Projects

That Will Boost Your Creativity

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