David Durbak Academia Erudition

Tuesday, July 11, 2017

Assignment 06 A - Creative Portraits

Assignment 06 A - Conceptual Portraits

UPDATE: When creating portraits outdoors, a shady area is usually better than bright sunlight as your subjects won't be squinting and there will not be dark, harsh shadows to accentuate blemishes and wrinkles. Here is a handy reference guide for exposures:

Weak, Hazy Sun with Soft Shadows = aperture of f/8 and shutter speed of 1/500

Cloudy with No Shadows = aperture of f/5.6 and shutter speed of 1/500

Heavy Overcast, Open Shade = aperture of f/4 and shutter speed of 1/500

..........

For this assignment, create a series of portraits using an entire roll of film that are creative, conceptual, and above the ordinary by using the following techniques:

1.) Change your point of view; i. e., choose a low viewpoint on the ground, or choose an overhead viewpoint, or get extremely close to your subject (if you have a close-up or macro/micro lens).

2.) Put your subject in a different environment; i. e., in the ocean or a pool, behind a window, peeking out behind a door or fence, etc.

3.) Use props as a different viewpoint to look at your subject; i. e., eyeglasses, jars, mirrors, etc.

4.) Ask your subject to show a different emotion than simply smiling.

5.) Use shadows creatively to frame your subject.

6.) Frame your subject by showing only a portion of her/his face.

7.) Add another person into your portrait.

Assignment 04 - Landscapes, Seascapes, and Urbanscapes

Assignment 04 - Rules of Composition

UPDATE: Be sure to use the Rule of Thirds when composing your images for this assignment. The basic idea of the Rule of Thirds is to NOT place your subject or an item in the center of the image, either vertically or horizontally. Rather, place the subject your item (building, horizon, person, etc.) in the upper or lower third when thinking horizontally, or in the left-hand third or right-hand third of the image, as show in the examples below:

Successful location photography, which includes landscapes, seascapes, and urbanscapes, is dependent upon several factors:

1.) Learn about the location; i.e., the sun positions (morning or afternoon?), weather conditions (morning fog, afternoon showers?), tides (high tide or low tide?), parking spots, facilities.

2.) Arrive earlier than when you expect to photograph so that you can be ready for the "perfect" moment.

3.) Don't always use your widest lens; there might be details and vignettes that are worth photographing, as well.

4.) Have your selection of filters ready; i.e., neutral density, gradated, etc.

5.) Don't just photograph during the 'best' weather; sometimes, stormy weather can produce magnificent clouds and dramatic skies. Be sure to bring protection for your gear if you're out in stormy weather.

6.) Don't just shoot from eye-level; try lying on the ground or climbing a hill or tree for a different viewpoint.

7.) Don't try to include too much in your photo (which points back to Rule 3; study and find the most interesting subjects and focus on them.

8.) Shoot an entire roll of film of any combination of landscapes, seascapes, and/or urbanscapes, for this assignment.

9.) Have fun!

(above) "Mailbox, State Road 60" © David Durbak

(above) Jupiter Island shore from "The Atlantic" © David Durbak

(above) Banyan trees from "River of Grass" © David Durbak

(above) Peach and Pecan from "Heartland © David Durbak

(above) Mailboxes, Wharton, TX, from "Heartland" © David Durbak

(above) Water hyacinths from "River of Grass" © David Durbak

(above) Coral Cove from "The Atlantic" © David Durbak

(above) Mangroves at low tide, Gulf of Mexico © David Durbak

(above) Jupiter Island from "Floridays" © David Durbak

(above) Intracoastal Waterway from "Floridays" © David Durbak

(above) Ellis Island and World Trade Center, 1999 © David Durbak

(above) Statue of Liberty, 1999 © David Durbak

(above) Side street, Summer Palace, China © David Durbak

(above) Front porch, Raleigh, NC, from "Heartland" © David Durbak

(above) Feed mill, Lewisville, TX, from "Heartland" © David Durbak

(above) 3 Hour Parking, McKinney, TX © David Durbak

(above) 2047 Commerce Street from "Impermanence" © David Durbak

Thursday, February 9, 2017

Assignment 03 - Leading Lines / Patterns and Repetition

Leading Lines / Patterns and Repetition

This week, the assignment has two parts - Part I is Leading Lines and Part II is Patterns and Repetition. Shoot a half of a roll of film on each part of the assignment.

Part I - Leading Lines are important elements in a piece of art that create paths for the viewers' eyes to follow in order to discover various areas of the art work. In photography, we look for leading lines in our compositions in order to do the exact same thing; either lead our viewers' eyes to a particular subject or to lead our viewers' eyes further into the photograph.

Leading lines can be solid, such as railroad tracks or sidewalks or railings or a fence or the shoreline on a beach, or they can be a series of items in a row that create an implied line, such as a line of people, or a line of trees or shrubs, or a line of cars, or a line of chairs in a row.

Leading lines are usually at a diagonal, an angle, as angles and diagonals create tension in art work. Leading lines that are horizontal are placid and restful.

This week, study the examples shown below (how many leading lines can you find in the photo titled 'L'Aquila, Abruzzo, Italy' by Henri Cartier Bresson?) and then shoot one half of a roll of film and create a series of images that have leading lines. Once again, look for photos where your subjects are in bright daylight and have interesting shadows.

(See Part II on Patterns and Repetition below these photo)

(above) Snake River, by Ansel Adams

(above) Bernice Abbott

(above) Berenice Abbott

(above) "Jupiter Island," from the series The Atlantic, © David Durbak

(above) by Edward Weston

(above) by Eugene Atget

(above) "Amish Boys" by George Tice

(above) by George Tice

(above) "Hyeres, France," by Henri Cartier Bresson

(above) L'Aquila, Abruzzo, Italy, by Henri Cartier Bresson

(above) by Julius Shulman

(above) Case Study House #22, by Julius Shulman

(above) "Children over a Fibonacci Spiral Staircase," by Henri Cartier Bresson

Part II - Patterns and Repetition

For this part of the assignment, look for multiple subjects that are in a row or subjects that have a repetitive pattern. You can also create patterns, such as the examples of the Coca Cola bottles and the forks.

1.) Continue to use the Sunny 16 Rule, which means that there must be bright sunlight in your photos.

2.) Focus carefully; sometimes you might wish to focus on the first item in a row, sometimes in the middle of the pattern, sometimes at the end of the pattern.

3.) Try to step in a little closer to only include the subjects that create the repetitive pattern. Don't be afraid to experiment with cropping in camera.

4.) Study the examples below for ideas and do an Internet search for other examples using the keywords: b&w photography repetition

5.) Shoot the second half of your roll of film and create a series of images that have patterns and repetition.

6.) Have fun!