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All photo lessons are written by ICS Tony Le Kim Thuan APSA HonEFIAP

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  • LET’S LEARN HOW TO EVALUATE AND EXAMINE A PHOTOGRAPH INTRODUCTION To learn how to evaluate, examine and understand a work of art photography, a photographer must know   how to look and what to look for in a photograph. By ...
    Posted Apr 21, 2011, 6:57 AM by Tony Le
  • LET'S LEARN PSAFIAP DEFINITION INTRODUCTION The summary photo definition of PSA and FIAP will help enthusiastic photography from beginner to serious amateur photographers able to identify his/hers artwork category for entry international exhibition ...
    Posted Apr 21, 2011, 11:03 AM by Tony Le
  • LET’S LEARN PHOTO VISUAL ART COMPOSITION DEFINITION Composition is the placement or arrangement of visual elements or ingredients in a work of art, as distinct from the object of subject of a work. The term composition ...
    Posted Apr 20, 2011, 5:30 PM by Tony Le
  • LET’S LEARN PORTRAIT LIGHTING TECHNIQUE LIGHTING EQUIPMENT ·         Main light with soft box or umbrella. ·         Fill light with soft box or umbrella. ·         Background light with snoop and gel filters for diffusion if necessary. ·         Hair light with ...
    Posted Apr 21, 2011, 11:09 AM by Tony Le
  • LET’S LEARN ZONE SYSTEM INTRODUCTION Zones are levels of light and dark. A Zone System is a system control every level of light and dark, it works in digital just as it does for ...
    Posted Apr 20, 2011, 5:44 PM by Tony Le
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LET’S LEARN HOW TO EVALUATE AND EXAMINE A PHOTOGRAPH

posted Apr 9, 2011, 5:19 PM by Anh Vuong   [ updated Apr 21, 2011, 6:57 AM by Tony Le ]

INTRODUCTION

To learn how to evaluate, examine and understand a work of art photography, a photographer must know   how to look and what to look for in a photograph. By identifying clues within an artwork, one can decipher the aesthetic nature of the photograph, thus leading to the development of the “artistic eye” necessary for art criticism and aesthetics.

ART IN FOCUS: EVALUATION AND EXAMINATION

Before a photographer judges a photo artwork by him/herself, it is required that the s/he have a clear understanding of the theories of art and know how to determine and identify the basic of visual art zone system, in focus subject and object of an image, visual art composition - rule of thirds, photo-shop/darkroom work, and photographs’ definitions in each photo category as required by the Photographic Society of America and the International Federation of Photographic Art standard for entry into the international photo contests.

The five critiques standard to follow based on experience and years of evaluating and examining photographs in the salons of international photo contests:

WHAT TO LOOK AND HOW TO LOOK

  1. Tonal range and Density
  2. Subject and Object
  3. Composition
  4. Impression Language
  5. Print Technique

TONAL RANGE AND DENSITY OF A PHOTOGRAPH

Look for the tonal range of photograph. It is the color tone and contrast levels between the black point and the white point of an image, also known as tonal (or dynamic) range of a photograph. This allows the photographer to determine details in the shadows, mid-tones, and highlights of his/hers image. This is greatly beneficial for photographers to self-evaluate and examine his/her photographs.

SUBJECT AND OBJECT OF A PHOTOGRAPH

Look at the appearance of depth and lighting when a three-dimensional object is represented in a two-dimensional photograph, or when the subject is in full view. Also, take into consideration of the linear perspective, fixed point of view of photograph.

COMPOSITION OF A PHOTOGRAPH

Depending on the category of photographs, the image may or may not apply the rule of thirds as determined by the photographer’s taste. If this is the case and the photograph meets the requirement of tonal range and density, then look for the story telling value of the photograph. This should be considered and weighed more than the composition of the pictorial. If it is acceptable, then to skip to…

IMPRESSION LANGUAGE OF A PHOTOGRAPH

Look at the lighting technique for interpretation to identify the expressive qualities, or the meaning, mood, or idea that is communicated. The story telling value of a photograph must be weighed the same as the pictorial quality for pictorial categories. However, in the nature wildlife photography category the story telling value of a photograph must be weighed more than the pictorial quality.

PRINT TECHNIQUE

Look for a realistic photograph with a dynamic range of color, contrast, brightness, and mid-tone with high degree of pictorial quality.

IN SUMMARY

The five critiques standard: *Tonal Range and Density – *Subject and Object – *Composition – * Impression Language – *Technique Print as mentioned above are developed from three main aesthetic theories of the imitationalism, formalism, and emotionalism. Favoring different aesthetic qualities may lead to a difference in judgment.

BE AWARE OF THIS MATTER

  • Imitationalism is based on the realistic presentation of the subject matter—the photograph should appear lifelike.
  • Formalism focuses on the organization of the elements of art through the use of the principles of visual art composition.
  • Emotionalism interprets a work’s success based on how well a photograph communicates a mood, feeling, or idea.
NOW, LET'S BEGIN TO PRACTICE... 



LET'S LEARN PSAFIAP DEFINITION

posted Apr 4, 2011, 6:27 PM by Anh Vuong   [ updated Apr 21, 2011, 11:03 AM by Tony Le ]

INTRODUCTION

The summary photo definition of PSA and FIAP will help enthusiastic photography from beginner to serious amateur photographers able to identify his/hers artwork category for entry international exhibition salon as PSA FIAP requirement.

DEFINITION OF PSA PHOTO TRAVEL DIVISION

“A Photo Travel image must express the feeling of a time and place, portray a land, its people, or a culture in its natural state, and has no geographical limitations.

Ultra close-ups which lose their identity, studio-type model shots, or photographic manipulations that misrepresent the true situation or alter the content of the image are unacceptable in Photo Travel competition.

No pictorial elements may be moved, cloned, added, deleted, rearranged or combined. No manipulation or modification is permitted except resizing, cropping, selective lightening or darkening, sharpening, and restoration of original color to the scene. Any adjustments must appear natural.”

DEFINITION OF PSA PHOTO JOURNALISM DIVISON

Photojournalism shall consist of pictures or sequences with informative content and emotional impact, including human interest, documentary, and spot news. The journalistic value of the photograph shall be considered over pictorial quality.

“In the interest of credibility, photographs which misrepresent the truth, such as manipulation to alter the subject matter, or situations which are set up for the purpose of photography, are unacceptable.” The only digital editing that can be allowed must fit with the PSA definition for acceptable Photojournalism images. That means that the only editing that can be done includes cropping and color correction that could be done in a darkroom.

No elements may be moved, cloned, added, deleted, rearranged or combined. No manipulation or modification is permitted except resizing, cropping, selective lightening or darkening, and restoration of original colour of the scene. No special effect filters can be applied. Any sharpening must appear natural.

Human Interest in Photojournalism is defined as an image depicting a person or persons in an interactive, emotional or unusual situation, excluding sports action.

DEFINITION OF PSA PHOTO NATURE DIVISON

“Nature Photography is restricted to the use of the photographic process to depict observations from all branches of natural history, except anthropology and archeology, in such a fashion that a well informed person will be able to identify the subject material and certify as to its honest presentation.

The story telling value of a photograph must be weighed more than the pictorial quality. Human elements shall not be present, except on the rare occasion where those human elements enhance the nature story. The presence of scientific bands on wild animals is acceptable. Photographs of artificially produced hybrid plants or animals, mounted specimens, or obviously set arrangements, are ineligible, as is any form of manipulation that alters the truth of the photographic statement.

No elements may be moved, cloned, added, deleted, rearranged or combined. No manipulation or modification is permitted except sharpening, resizing, cropping, selective lightening or darkening, and restoration of original color to the scene. No special effects filters can be applied. Any adjustments must appear natural.”

All images used in recognized PSA Nature Division competitions for Wildlife images must meet the additional PSA Definition for Nature Wildlife Photography as follows:

DEFINITION OF PSA PHOTO NATURE WILDLIFE PHOTOGRAPHY

Authentic wildlife is defined as one or more organisms, living free and unrestrained in a natural or adopted habitat. Therefore, photographs of zoo or game farm animals are not eligible for Wildlife competitions."

All digital images used in PSA Nature Division approved competitions or for competitions or for competitions governed by PSA Nature Division rules must be considered “Digital Realism”.

“Makers may perform any enhancements and modifications that improve the presentation of the image that could have been done at the time the image was taken but that does not change the truth of the original nature story. Cropping and horizontal flipping (equivalent to reversing a slide) are acceptable modifications. Addition of elements, removal of elements other than by cropping, combining elements from separate images, rearranging elements or cloning elements are not acceptable.”

In addition to the General Definition above, Wildlife is defined as one or more organisms defined as, "Authentic living free and unrestrained in a natural or adopted habitat. Therefore, photographs of zoo or game farm animals are not eligible for the PSA Silver Wildlife Medal."

DEFINITION OF FIAP PHOTO NATURE PHOTOGRAPHY

Nature photography depicts living, untamed animals and uncultivated plants in a natural habitat, geology and the wide diversity of natural phenomena, from insects to icebergs. Photographs of animals which are domesticated, caged or under any form of restraint, as well as photographs of cultivated plants are ineligible. 

Minimal evidence of humans is acceptable for nature subjects, such as barn owls or storks adapting to an environment modified by humans, or natural forces, like hurricanes or tidal waves, reclaiming it.
The original image must have been taken by the photographer, whatever photographic medium is used.

Any manipulation or modification to the original image is limited to minor retouching of blemishes and must not alter the content of the original scene.

After satisfying the above requirements, every effort should be made to use the highest level of artistic skill in all nature photographs.

DEFINITION OF PSA MONOCHROME – BLACK & WHITE PRINT

PSA offer the choice of the following two definitions for Monochrome:
A monochrome print is defined as having no more than two colours: monochrome plus one other colour, or

A monochrome print is defined as having no more than one colour; but it may be any single colour.

DEFINITION OF FIAP MONOCHROME – BLACK & WHITE PRINT

A black and white work fitting from the very dark grey (black) to the very clear grey (white) is a monochrome work with the various shades of grey.

A black and white work toned entirely in a single colour will remain a monochrome work able to stand in the black and white category; such a work can be reproduced in black and white in the catalogue of a salon under FIAP Patronage.

On the other hand a black and white work modified by a partial toning or by the addition of one colour becomes a colour work (polychrome) to stand in the colour category; such a work requires colour reproduction in the catalogue of a salon under FIAP Patronage.

NOW, LET'S LEARN PSA FIAP DEFINITION OF PHOTOGRAPHY



LET’S LEARN PHOTO VISUAL ART COMPOSITION

posted Apr 4, 2011, 6:10 PM by Anh Vuong   [ updated Apr 20, 2011, 5:30 PM by Tony Le ]

DEFINITION

Composition is the placement or arrangement of visual elements or ingredients in a work of art, as distinct from the object of subject of a work. The term composition means 'putting together,' and can apply to any work of art using conscious thought. In the visual arts, composition is often used interchangeably with various terms depending on the context.

INTRODUCTION

The artist uses concept and brush with the colors for painting. The artistic photographer uses talent and camera with the light sources for taken photograph. Therefore, composition is the term only used for the arrangements of the elements in or the subject matter of photography.

A successful composition is sketches in the view finder of camera and pulls eyes across the whole image, sometimes referred to as visual impact in which will create a more interesting piece of art it will show a pleasing rhythm and movement and finally it settles on the main subject of the photography.

Moreover, many artistic photographers today like to bend or ignore theory that leads to these rules and therefore those are experimenting with the different forms of photography expression; So that it called “framework” by artistic photographer’s impression, instead calling “rules” composition.

Before breaking the rules, let’s learn the basic rule.

BASIC RULE OF THIRD

The Rule of Thirds is simply a generalization of the techniques used to locate star points within the photograph. Imagine dividing the interior of the camera's viewfinder into a tic-tac-toe grid. The four points of intersection within the grid, called "star points", indicate the best possibilities for subject placement that produces the most interesting and dynamic composition.

It pleases viewers in an abstract sense because it forces artistic photographer to recognize the "Golden Proportion" within the framework of the rectangle. In fact there are 4 such "star points" available within the rectangle. Either one of these star points will be utilized as the location of the primary subject.

Any secondary elements of the image must be placed at another star point or on a diagonal line that exists between stare points.

The Rule of Thirds is also based on the fact that the human eye is naturally drawn to a star point about two-thirds up a frame camera’s viewfinder. Therefore cropping or framing an image through camera’s viewfinder that made the main subjects are located around one of the intersection star points rather than in the center of the image.

The center of interest view point in an image is not in the center of framework because placement of the subject there forces viewer’s eye to view it in an unnatural and uncomfortable manner.

THINK ABOUT IT

In the art, the rules are made to be broken!
With me, there is no word composition “rule” when it is relates toward the art.
With me, the art is a miracle-way for an artistic photographer can freely sketch, stretch and push the boundaries.

However, an artistic photographer must first know the composition rules before his/hers breaks them in order to go into the different forms of photography expression.

JUST REMIND!

Hold DSLR camera at the main object’s level.
Taking a picture from above or below that brings in the image an element of exertion.

  • Ordinarily, the main source of light must be placed behind you.
  • Taking a picture with the light source between DSLR camera and the object is the task for a specialist.
  • Use a dark background for taking a picture of a light object, or
  • Alternatively of a light background for taking a picture of a dark object.
  • Absolutely white background causes flare effect that leads to reducing the contrast of a taken photograph indoor/outdoor.
  • When the main object of an image is located on the long shot, the whole image will look better if the foreground objects will be taken into the image as well.
  • A space in a shot should be reserved in front of an actually or potentially moving object.

Now don't be afraid of breaking rules!

Edward Weston said: "Consulting the rules of composition before taking a photograph is like consulting the laws of gravity before going for a walk."

NOW ENJOY PHOTOGRAPH WITH OR WITHOUT "RULES" OF THIRD THOUGH ART IMPRESSION.





LET’S LEARN PORTRAIT LIGHTING TECHNIQUE

posted Mar 26, 2011, 1:23 PM by Anh Vuong   [ updated Apr 21, 2011, 11:09 AM by Tony Le ]


LIGHTING EQUIPMENT

·         Main light with soft box or umbrella. 
·         Fill light with soft box or umbrella. 
·         Background light with snoop and gel filters for diffusion if necessary. 
·         Hair light with snoop.

DETERMINING THE CORRECT EXPOSURE 

·         Test with the DSLR camera or other camera that you plan on using for taking picture. 
·         Use of a Kodak Grey card and or gray scale or histogram indicated on DSLR’s LCD. 
·         What you are looking for is a consistent Density of Image.

APPROPRIATE LIGHTING TECHNIQUE 

The success of a photographic portrait depends as much on the artistic and creative use of lighting as it does on skills and use camera. 

                ·         Lighting creates the impact, styles, and the moods. 
                ·         High-contrast enhances strength, character

One method of creating High Contrast is to use a single specular light, no fill; in fact on the normal fill side use subtractive or diffuse lighting.

·         Lower-contrast lighting produces a softer image.

No exposure difference between the meter measured sides of the subject.

APPLY TO CREATIVE IMPACT   

As the angle of light is increased away from the camera axis, the reflective quality of that light array becomes BRIGHTER.

·         All lights that strike the subject should have the same incident volume as the fill light. The exception to this is the main light.
·         The main light should be one to one and a half of f-stops brighter. 
·         All meter readings are incident, the DSLR camera or other camera must be set based on the light measured from the main light.

PROFILE OF MODEL 

The profile is a study of only one side of the face from the chin to the forehead.

·         The widest, most fullest side of the face is most suitable because it usually has the most contours. 
·         Be careful for the white eyed look, avoid it by having the subject look at an area three to five degrees closer to the camera position instead of straight out in front of them. 
·         The top of the head of a male model should be tilted three to five degrees towards the background. 

·         For female it’s toward the camera three to five degrees.

TIPS OF LIGHT 

Main Light is what sets the density of the image by the exposure setting.

  • Place main light closest to the subject, but just outside of the DSLR camera or other camera view.
  • Subject must be facing the main light if wish to photograph the other side of model’s face, move the light to the other side.
  • Meter the amount of light falling onto the subject, using a hand held meter with the light dome over the sensor.
  • Take this setting from the meter at set the aperture of the camera to it. Reading is f 3.5, f 4.5, f 5.6 based on DSLR camera or other camera speed and the power from light.

Fill Light is what sets the shadows or softens of the image by the exposure setting.

  • Fill Light fills the shadows or softens subject, the fill light causes the contrast or lessens it.
  • A good fill light source is large and diffused. It is set behind the camera. Two light heads bouncing off of the white wall that is behind camera, causing a very large light source and very diffused.
  • The fill light again fills onto the shadow areas with light and softens the ratio and the shadows.
  • Meter the amount of light falling onto the subject using a hand held meter with the light dome over the sensor.
  • Need one to one and a half less light falling onto the subject from the fill light as compared to the main light meter reading. Set a reading of f 4  for one stop difference.

Hair Light is to add some highlight to the hair for details.

  • The hair lights job is to add some highlight to the hair.
  • Stop - Do not use a hair light on bald headed male, or hair bright bleach blondes of female.
  • Hair light should be thru a snoop and must skim over the top of the hair.
  • Hair light should measure weaker than the fill light.
  • If the main light is moved to the other side, and face the subject the other direction then the hair light must be moved as well.
  • Be careful that the hair light does not illuminate the ear, it just skims only the top of the hair.

Back Ground Light is a separation light between the subject to background.

  • It called a separation light for the background light illuminates the background and sets it apart from the subject.
  • Background light can be set off to the side of the background and skimmed across the background or positioned behind the subject on a low profile stand, use of a honey comb grid helps to diffuse and prevent a hot spot look.
  • Background light must not be stronger than the main light reading, it may be lessoned for effect.
  • A neat effect is to turn this light towards the subject if they are against a dark background.
SUMMARY

Just A Reminder!

·         The only required light is the main light. 
·         Fill can be from a reflector, bouncing light from the main light onto the shadow area of the model’s face.
·         Shadow side of the face is usually positioned towards the camera, for a slimmer look.
·         Proper use of main light will have catch lights in the eyes of model.
·         Master these two lights of main and fill, then add the hair and background lights.

Success of a photographic portrait depends as much on the artistic and creative use of advanced lighting technique for impact, Style and Mood; Apply a little photo shop no more than 3% for enhance the image. 

NOW, LET'S PRACTICE LIGHTING TECHNIQUE...




LET’S LEARN ZONE SYSTEM

posted Mar 26, 2011, 1:05 PM by Anh Vuong   [ updated Apr 20, 2011, 5:44 PM by Tony Le ]

INTRODUCTION

Zones are levels of light and dark.

A Zone System is a system control every level of light and dark, it works in digital just as it does for film. 
A system allows you to understand and be in control, instead of taking whatever you get. The Zone System is one way to get a handle on everything. The Zone System applies as much to color, digital and black-and-white. 

PRACTICE

Visualization exercise for ICS members and photo friends.
 
JUST REMIND!

The Zone System allows you to get the right exposure every time without guessing. Set proper exposure will make your digital photographs as good as they can be

Identify and photograph subjects that have tonal equivalents to the various NINE zones.
Take a light reading 8 to 12” from the subject.

Set the exposure by placing the value of the subject into the appropriate zone.

Zone 5 basic represents a middle-tone in the scene. Anything darker one stop will render as
Zone 4, two stops darker.
Zone 3, and so on… Anything lighter one stop will render as
Zone 6, two stops lighter.
Zone 7, etc

Almost DSLR digital cameras can hold details in Zones 3 and Zone 7.

Zone 8 and above are washed out, and
Zone 2 and below are black.

A light color will lose saturation above Zone 6, and
 A dark color can’t go below Zone 4 without becoming muddy.

SUMMARY

Visualization exercise

ZONE 1: Four stops less exposure than ZONE 5.
  • Solid black; the darkest tone a print can yield. 
ZONE 2: Three stops less exposure that ZONE 5. 
  • The first tone that begins to reveal some degree of texture or sense of volume. A hint of detail.
ZONE 3: Two stops less exposure than ZONE 5.
  • The darkest shadows with full detail. 
ZONE 4: One stop less exposure than ZONE 5.
  • A medium dark tone such as found in open shade. 
ZONE 5: The MIDDLE-TONE that the light meter interprets everything it reads;
  • MIDDLE GRAY. 
ZONE 6: One stop more exposure than ZONE 5.
  • A medium light tone such as Caucasian skin. 
ZONE 7: Two stops more exposure than ZONE 5.
  • The brightest highlights with full detail. 
ZONE 8: Three stops more exposure than ZONE 5.
  • The last tone that still reveals some degree of texture in the highlights. 
ZONE 9: Four stops more exposure than ZONE 5.
  • Solid white; the lightest tone a print can yield.

NOTES: 

Zone 5 meter reading (Aperture and Shutter speed).

Zone placement:

(Zone the Subject was placed into, and the changed Aperture and Shutter speed that you used for the exposure).

Frame number and Subject identification.

NOW, LET'S LEARN ZONE SYSTEM...



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