These three components of photography are also known as the exposure triangle. These are the three elements that you will have to change on your camera in order to get a perfectly exposed photograph. You will ALWAYS be changing your aperture and shutter speed in order to get the photograph you want (i.e. I want a photo with movement, I want a photo with blur, I want to capture sports action, I want a great portrait, etc.). Your shutter speed and aperture will give you the specific results you want. So what the heck are these things?

• ISO – the level of sensitivity of your camera to available light. It is typically measured in numbers, a lower number representing lower sensitivity to available light, while higher numbers mean more sensitivity. More sensitivity comes at the cost though, as the ISO increases, so does the grain/noise in the images. ISO values: 100, 200, 400, 800, 1600.
• Shutter speed – the length of time a camera shutter opens to allow light to expose onto the film or camera sensor. Shutter speeds are typically measured in fractions of a second, when they are under a second. Slow shutter speeds allow more light into the camera sensor and are used for low-light and night photography, while fast shutter speeds help to freeze motion. Shutter Speed values: 1, 2, 4, 8, 15, 30, 60, 125, 250, 500, 1000, 2000
• Aperture or F-stop– the opening within a lens, through which light travels into the camera body. The larger the opening, the more light passes to the camera sensor. Aperture also controls the depth of field, which is the portion of a scene that appears to be sharp. If the aperture is very small, the depth of field is large, while if the aperture is large, the depth of field is small. In photography, aperture is typically expressed in “f” numbers (also known as “focal ratio”, since the f-number is the ratio of the diameter of the lens aperture to the length of the lens). Aperture (f-stop) values : 1.7, 2.8, 4, 5.6, 8, 11, 16, 22 

Read more: http://photographylife.com/iso-shutter-speed-and-aperture-for-beginners#ixzz3DlHL7ZCJ 

Shallow depth of field is when one part of the image is in focus and the other is not and happens with a wide-open aperture (f/2.8 or lower).

Here's an example of bokeh - the out of focus area in a shallow depth of field image, usually referring to lights at night or sunlight through trees. 

Landscape photography uses a higher aperture (f/22 or higher) to create a focused image from foreground to background.

Same scene with totally different effects based on camera settings.  

Flipping through the glossy pages of magazines, how many images do you see of fashion and products being sold? What do you think of when you hear the word “fashion”? Chances are, images of catwalks, models, and couture clothing fill your head, but fashion is so much more. Fashion photography has been around since the advent of the camera. Fashion, like photography, is an ever-changing and evolving art form. There are many different types of fashion in America alone, leaving this assignment very broad. 

Artists to consider: Richard Avedon, Helmut Newton, David LaChapelle, Mario Testino, Ellen Von Unwerth


Brands to consider: Forever 21, GQ, Free People, Louis Vuitton,  J. Crew 

Assignment
Your assignment is to submit 3 fashion photos and 3 product photos that could be printed in a magazine. You will mount one 8x10 on board (your best one). You will be mounting on black board or matting the images in a professional manner. This is your FINAL so show me everything that you’ve learned throughout the year. This project is a culmination of your EXCELLENT photography skills. Be sure to place all 6 photographs in the Google Classroom folder before the day of the final. You may print your image in the classroom but it is your responsibility to have it printed and mounted by the exam day. If you cannot print at school then you may print them at CVS or another photo lab. 

Tips:

• Look around you. What kind of fashion surrounds you? Then think about what kind of fashion you want to photograph (vintage fashion, couture fashion, teen fashion, men’s fashion). You may use anything that has to do with fashion (heels, purses, accessories).
• When photographing a product, think about something that really interests you and find a way to make that product pop. Set up a studio if need be in order to get those crisp shots. Are you photographing an organic face lotion? Perhaps place rose petals with your shot. Want to sell makeup like a magazine? Make your own tabletop and photograph from above with clean even light. Make it APPEALING. 
• Think about your subject and how you are going to frame it. You are going to be selling this fashion design or this product so you want it to look fantastic. Think about your model-will there be one? Think of what background you choose. Are you going to use a studio setting or outdoor setting? The rest of the photograph should complement your product.
• Edit your photo. No digital photographer shows unedited photographs. Use Photoshop to make your photo pop. Online tutorials are great resources to find out how to edit photographs if there is something specific that you want to do that we did not learn in class. I suggest you do some research for Photoshop tutorials—especially if you want to make perfect skin, or lens flare, or any other specific element to add to you image. 
• Our cameras have an aspect ratio of 8x12. You need to crop 2 inches off the 12" side to make a photograph be 8x10. 8x12 mats are difficult to find, most are sold as 8x10 so keep this in mind while printing.

Resources: Pinterest fashion pin board

In this project you are going to focus on the sense of movement. This can be done with actual movement in your photographs (ie sport photography, dance, cars, night photography, and long exposure) or the idea of movement. Think about those moments just before something is going to happen, like diving off a diving board, sliding down a slide, or getting on a bicycle. Your images should suggest movement even if there is no "actual" movement in the photograph. Also think about being more metaphorical and photographing things whose sole purpose is to move; like cars, bikes, roller skates, skateboards, etc. How could you create a sense of movement by photographing these types of objects?

Artists to consider: Ernst Haas, Edward Muybridge, Otto Steinert, Henri Cartier-Bresson

Assignment
You must photograph (50 exposures) of images with a sense of movement. Definitely think about both the actual idea of movement and the suggestion of movement. Be creative and think outside of the box. These images should be printed and constructed well. Think about your frame and composition while you are photographing as well as your final intent.

On google classroom you will be passing in the following: 

• 1 panned shot
• 1 long exposure
• 1 shot of any way you want 
• contact sheet of 10 best images

Steps

• Look around you. Our lives are in a constant state of motion. Take that idea and run with it...literally. Think about moving yourself while you are photographing. Maybe everything around you is still you are the sense of movement. 
• Think about the original ideas of movement -- the invention of the wheel. Imagine for a second what life would be without movement. Try to capture the objects around you that are always moving.
• Make a pic collage of inspirational photos. Use Photoshop, Pic Collage, or Pic Stitch to create this. Upload to Drive in the inspiration board folder
• Go outside. Nature is the most constant representation of movement. The trees move, water moves, gravity pulls things and makes them move, even we are actually moving while the earth spins. Think about these things while you are photographing.
• Take long exposures. The best way to explore the idea of movement is to give your film a long time to capture that movement. What about a 30 minute night exposure? what might this look like? What if someone-- or something -- is moving in your image?

Objective: Use the camera to capture motion, both in the middle of movement to offer the idea of passing time and to freeze motion in time.

Resources: Movement Pinterest Board

A panorama usually refers to a long photograph. To assemble something means to put it together from various pieces. So for this project you are going to be assembling a panorama image. However, a panorama—in our project—can take on many different shapes besides the usual long image. Think about vertical images or images that follow a particular shape. This can be any subject (i.e. a long hallway, a fire hose, a portrait of a person, a flag pole, etc.). Think of how to create a panorama of your subject because often the subject of your photograph is going to determine the shape of your panorama. Your panorama must have 12 or more frames in it and they cannot overlap so that one image is completely hiding (or mostly hiding) the image beneath it.



Artists to consider: Matthew Chase-Daniel, Rachelle Dermer, David Hockney, Pablo Picasso

Assignment:
You must photograph 50 exposures of panoramas. Since each panorama requires AT LEAST 12 frames, I suggest that you shoot 2 different objects or scenes with 20/25 frames apiece. This will ensure that you are able to get enough good images for your panorama. You are responsible for lining up the frames and overlapping them so that when printed, you can assemble them to make an image that makes sense to your viewer. Your subject itself does not need to be panoramic; you need to make it a panorama.   

You will be passing in two edited digital "panoramas" on google drive and choosing your best one to print—you will be printing your favorite panorama images as small 2x3 photos and cutting them out and pasting them together using a rubber cement mounting technique. 

Steps:

• Look around you. How can you make your surrounding a panoramic image? What creates an interesting shape when photographed with numerous frames?  
• Once you choose something, think about how to make it more interesting. If you photograph a flag pole, is it more interesting if it is long and skinny or if all of the background information is included? Or with a fire hose, what if you follow the shape of the hose and make it swirl into the center? How does this make it more interesting than just photographing every frame so that the hose is straight within it? 

Objective: Use the camera in a non-traditional manner to assemble a photograph made up of several different images/parts, Harkening back to ideas of cubism and collage.  


Resources: Assemblage Panorama Pinterest board

Here is a great example of a stop-motion film that was created for the video to the song Lost Things by A Fine Frenzy. (click here if it won't load).  

Below are a few student examples. Click on them to see the full gif. 

A glitch is a momentary fault in a system. The last few years all of the photo I classes have played with the idea of glitching photographs that they made and we came up with some really awesome results. Glitching is fun and easy. To glitch, all you have to do is the following:

• Duplicate your photo (because you WILL mess it up!)
• Change the file extension to .txt
• Open up the .txt file in text edit
• Change it up! Add text, copy, paste, go wild!
• Change the file extension back to .jpg (please remember this is NOT a proper way to save a file)
• Open the file and see your masterpiece

Assignment:
You are creating 3 different glitched images. You can use photos you have already taken (but not ones you've passed in) or you can shoot new imagery for the project. You will be passing in your best 3 glitches and printing and mounting your favorite one.

Steps:

• Choose a few images to start glitching—they must be original jpg files, not ones that have been edited in Photoshop (those won't glitch)
• Images must be in color, black and white photos don't work
• Changing from jpg to a txt file is NOT the proper way to save a file, but it is a necessary part of this process, Do NOT save your regular files this way or you will cause corruption. 

If you glitch too much you may not be able to see the photo so take your time and check back on what you have done every once in a while by changing the extension back to jpg. If you like the glitch the way it is but want to play more, duplicate that photo and try making more changes again. You will have the option of doing Photoshop editing once you've finalized your glitch. 

This week we will be making real working cameras out of a can of oatmeal, a piece of aluminum with a tiny hole poked into it, some paint, and a whole lot of tape. I promise these are real working cameras and they give a very nostalgic, almost dreamlike quality to the images. 

Justin Quinnell is a great pinhole photographer who has been working solely with pinhole photography for the last 22 years—he's even made a pinhole camera out of his mouth!