Assignment 9: "A Day in the Life"
"Routine" & "Leaving": I wanted to set the tone of the shoot with these two opening shots. Both very dark, but making the lit areas the focal point. Routine leaves it to the viewer to imagine whats going on in the house. It worked out as a great benefit for it to be raining as it helped illuminate the darker shots. In "Leaving" I liked how the reverse lights illuminated that part of the photo and brings your attention to the truck heading out for the day. Shooting in this low of light was very challenging. I learned there can be absolutely no movement or the shot will blur where that movement was as the shutter speeds were 26 and 3 seconds.
"Checking In" DayInTheLife_20201118_miller_00019 6:56 am ISO 200 59mm, f4, 1/4s
I learned following someone around all day you get a lot of pictures of their back. I hung back as he entered the building. As I looked in the door created a natural frame around him. I like how even though my subject is not in focus, you can still see him in the environment. I think the door sign and the hand sanitizer bring another layer to the photo. This photo archives the "Time of Covid", as its posted 100% masks required, and the sanitizer next to the door prior to entering.
"Dual Duty" DayInTheLife_20201118_miller_00037 8:59 ISO 200, 102 mm, F4, 1/25
In addition to their personal cellphones, Commanders also carry a work cellphone. Pre-Fight briefings are classified and electronic devices are prohibited. Following the brief, this is their chance to catch up on anything occurring, or office work prior to flight. When I went to take this shot it was the cup that caught my attention first. This cup gives the viewer information and history about the subject showing that he was a 1997 graduate of the United States Air Force Academy.
"Ready" DayInTheLife_20201118_miller_00074 9:22 am, ISO 200, 24mm, F4, 1/25s
I had the principle of view point in my head when I took this. I was observing the pilots getting their final weather brief and they had all their gear ready to go, and G-suits packed with necessary checklists and information. Hindsight for this shot i would have panned over slightly to the right to avoid the partial leg/foot on the left side of the photo.
Patches are a long running tradition in the military. You can identify who someone is, where they have been, or who they work for. I wanted to get our GUNFIGHTERS patch. Capturing the graduate patch in the second shot tells the viewer where he has been.
"Stepping" DayInTheLife_20201118_miller_00101 9:34 am, ISO 200, 105 mm, F4, 1/250s
The term step, or stepping, refers to the time which the pilots begin to head for their jets after all the in Squadron briefs have been accomplished. I used the over head structure to frame the pilots as they walked to their jet. I think this picture emphasizes leading lines bringing you back to the two pilots.
Last minute pre-flight checks and forms review prior to flight. Hind sight on the "Final Checks, I wish I could have taken the shot with out the extra set of hands, however they belong to the crew chief that had serviced the aircraft prior to the pilots arrival. I like that he's close by in the shot, perched and ready for any questions prior to take off. For "Airborne", I wish I had a lens that could have reached a bit further to fill the frame more of the Aircraft than the sky, however I do like how the simple grain and pattern of the sky surrounds the jet and allows the viewer to focus on the aircraft. I used panning to capture the fast plane in motion and focused on centering the plane, as I wanted to make it the center of attention to make up for the size that it took up in the photo.
The operational tempo is fast paced as the top photo shows a crew out and another crew on the way in to keep training. After the pilots finish flying they return their gear to personnel that clean and inspect the items before stowing them. As the commander, he has the Callsign of Gunfighter 1 and wanted to share the unique artwork on his helmet.
After flying, and lengthy de-briefs, the office job then begins. There are many emails, documents to review, forms needing signatures, and decisions that need to be made. When I saw the books on the table, I wanted to use the technique of shooting from the top. Looking back I would have lined up the edges the table to match the frame. This was very difficult to do with out a tripod.
"Headed Home" DayInTheLife_20201118_miller_00331, 7:22 pm, ISO 200, 32mm, F4, 1/8s
From 6:32 am to 7:22 pm, the viewer is reminded this is not a 9-5 job. I love the finality of this shot as we have come full circle back to it being dark, and the wet pavement reflecting light, like in the opening shots. I like the pools of light in this photo as it gives the building in the background some lines and definition without taking away from the subject getting in to the truck.
Assignment 9 "A Day in the Life" Reflection: Approaching this project took significant forethought as I wanted a project that I could shoot in a day but also be able to tell the story. Even though we had the entire break to shoot, I wanted to capture it all in one day and provide the time hacks for each photo to keep the authenticity. It was a way to challenge myself to tell it all in one day. This gave me all the time after to begin scaling down 311 photographs into only 10. I did double up some images in my story telling. Images that went together and were enhanced by being paired with another image. I felt it would have been redundant to end back at the dark house, so I decided my final shot would be located at the headquarters building and show him leaving, for what we can assume as viewers, home. I really enjoy how the photos came full circle, starting in the dark and ending in the dark. This was quite challenging to capture any kind of movement in this low light setting. I shot this entire set of photographs with my camera on a Black & White setting, so as I was setting up each shot, I was able to see what it was going to look like finalized instead of converting it to B&W later in Lightroom. I enjoy shooting in B&W for this type of photography. It ties all of the photos together and for me it gives a more authentic, raw feel to the photographs. This has been my favorite assignment this semester and I have begun to realize how much I like to observe and photograph people in their elements. A HUGE THANK YOU, to my Commander Col "Face" Goodman for allowing me to tag along with you and tell your story.
Assignment 8(a) Still Life's for Undergrads:
Fonteinen unopened, chilled bottle of beer, condensing, shot in kitchen studio 20201111, MILLER, This was the first of the series I wanted to capture of the unopened bottle of beer. The condensation, and the glass made for a difficult to capture with the reflection. I used light painting technique, diffused light and shot on bulb mode to capture this shot. Camera Info: Sony A7II, ISO 200, 34mm, f22, 32s
Fonteinen opened, chilled glassed of poured beer, condensing, shot in kitchen studio 20201111, MILLER, This was the second of the series I wanted to capture of the amber color most of all for this picture. The condensation, and the glass made for a difficult shot to capture. I used light painting technique, diffused light and shot on bulb mode to capture this shot. Camera Info: Sony A7II, ISO 200, 38mm, f22, 59s
Fonteinen Lace, Empty glass of beer, laced with beer foam, shot in kitchen studio 20201111, MILLER, This was the last shot of the series I wanted to capture of the lacing left behind after drinking the beer, for this picture. The reflection of the light off the glass made for a difficult shot to capture. I used light painting technique, diffused light and shot on bulb mode to capture this shot. Camera Info: Sony A7II, ISO 200, 38mm, f22, 59s
Assignment 8(a) Still Life’s for Undergrads Reflection: Other than children and pets, I think I chose one of the most challenging objects to photograph...glass. I knew in my head what I wanted this shoot to look like and spent most of the day doing trial and error to get the effect I wanted. I started in a dark kitchen, shooting on the black paper, but I noticed you could see every reflection of the room off the glass surface. So, after some mild construction, I had built a fort in the middle of the kitchen that completely blocked out the surroundings. (I looked like someone taking pictures under a heavy cloth in the 1800s) I was able to control the lighting and hue using grocery bags to not only diffuse the light, but to soften and bring out the golden tones for the shoot. I also used light painting and shot on bulb mode for all three settings. I found that light painting was the perfect way to control where I wanted the light to fall on each of the glass pieces. Every light choice had to be intentional in order for it to look how I imagined it in my head. I wanted my three pictures to tell a story. I realize photographing the glass twice, I needed to make sure there was a stark distinction between the two photos. The full glass I wanted to draw focus to the beautiful amber glow of the beer, and for the second to highlight the beautiful 'lacing' left behind after drinking the beer.
Assignment 7: Discovering Light
High Key Image: Dice on white paper, 20201107, MILLER, Utilizing the white backdrop I was able to get this high key image affect and show true white, while still maintaining the black integrity of the dice in the space. Camera Settings: Sony A7II, ISO 200, 105mm, f4, 1/20s
Low Key Image: Canon camera on black paper, 20201107, MILLER, Utilizing the black backdrop I was able to get this low key image affect and utilize side lighting to emphasized the interesting lines of the camera without having a completely lit subject. Camera Settings: Sony A7II, ISO 200, 65mm, f4.5, 1/10s
Front Lighting:Camera on white paper, 20201107, MILLER, I put one of my lights directly in front of the camera as I lined up this shot. Front lighting is very harsh. I had a very hard time keeping the entire camera in focus even after changing up my focus settings and shooting on full manual. Utilizing front lighting does not add any drama or noteworthy compliments to this angle and shot. Camera Settings: Sony A7II, ISO 200, 86mm, f4, 1/13s
Side Lighting:Dice on black paper, 20201107, MILLER, Utilizing the black backdrop I was able to get a dramatic outline of the dice utilizing side lighting. Even though the dice is black on black paper, the lighting and my use of reflective lighting on the right side of the dice, allows it and its edges to been seen on the black paper, while still keeping the paper black and not washed out. Camera Settings: Sony A7II, ISO 200, 105mm, f4.5, 1/15s
Backlighting: Dice on black paper, 20201107, MILLER, Backlighting was one of the hardest techniques of the 10 used for this shoot. Utilizing backlighting, I had to put white paper up around my lens to reflect light back to the front of the dice in order for it to not be completely lost in the black shadow. I enjoy the balance of the grey scale in this photo and how the white dots are still visible with in the dark shadow casted by the backlighting. Camera Settings: Sony A7II, ISO 200, 55mm, f4.5, 1/30s
Top Lighting: Dice on black paper, 20201107, MILLER, Top lighting on the black dice on black paper was hard to keep the paper from getting washed out. Top lighting is similar to front lighting, where it doesn't offer much drama to the shot. Camera Settings: Sony A7II, ISO 200, 51mm, f4.5, 1/30s
Texture: Leaf on black paper, 20201107, MILLER, I picked this leaf up because I saw the delicacy of the veins on the dried leaf and wanted to capture them. Using the black background and diffused side lighting I was able to cast shadows in the areas to show the raised portions of the leaf. I also utilized a gold reflection on the right side to warm up the leaf so the right side
Concentrated Light: Dice on white paper, 20201107, MILLER, I used my light, with no filter or diffuser on it, making it a straight light onto the dice. The concentrated light ended up reflecting the dice onto the white because the light was so concentrated. I like the affect direct light gave this particular shot and the stark shadow behind it. Camera Settings: Sony A7II, ISO 200, 105mm, f4, 1/15s
Diffused Light: Cactus on white paper, 20201107, MILLER, I like the compliment of using diffused light, on a 'sharp' point subject against the white backdrop. The diffused lighting on the white backdrop softens the feel of the photo, also allowing the plant to be the star of the shot. I chose to zoom in on the plan portion because the guide sticks that continued up were awkward in a non zoomed shot. Camera Settings: Sony A7II, ISO 200, 63mm, f4., 1/10s
Painted Light: Low Key Image: Coins on black paper, 20201107, MILLER, Utilizing the black backdrop and a dark room with a snuted light, i was able to only pool light onto the coins while I operated the camera in bulb mode Camera Settings: Sony A7II, ISO 200, 48mm, f4., 1/10s
Assignment 7 Discovering Light Reflection: This assignment showed me how much more light can play a part in setting up the shot and utilizing it to your advantage. I enjoyed using a 'studio' to set up and manipulate where my light source was coming from, how intense, using reflectors....all things that I can take and apply out in the 'real' unpredictable environment and begin to control mother natures light source to fit what I am trying to capture. Concentrated and front light are my least favorite for this assignment, light painting was the most challenging to capture.
Assignment 6: Composition
Rule Of Thirds: Old sea weathered building, framing al the interesting lines and textures on the exterior of this boiling, 20201029, Historic Panama City, MILLER, As I was walking around Historic PCB I would find very interesting buildings and shots I wanted to capture. This building was especially visually pleasing with the textures of the metal. I lined up the shot using the rule of thirds to put the most dramatic lines on the thirds and have the 4 intersecting point in the middle on the most visually appealing parts of the structure. Camera Settings: Sony A7 II, ISO 200, 26mm, f4, 1/2000s
Fill the Frame: Pile of nautical rope, filling the frame with the tangles an loops of the rope, 20201029, Historic Panama City, MILLER, Walking out on the docks I found a pile of rope, took a picture, got close, then got closer, the pile of rope, texture and the lines caught my eye and kept getting closer. I chose the closest of the three shots to highlight filling the frame. Camera Settings: Sony A7 II, ISO 200, 105mm, f5, 1/1000s
Viewpoint: Restaurant table light, capturing the 'glow from below' and the unique angle using the dark background to additionally frame the shot. 202010230, Atlanta International Airport, MILLER, Heading home from some time in Florida I was sitting in an airport restaurant. I was drawn to the amber glow of this light against the dark background, but lookin up from under the light instead of a side shot brought a little more interesting angle to the shot. Camera Settings: Sony A7 II, ISO 200, 105mm, f4, 1/8s
Framing: Blue Moon, shining through our tree that has almost lost all of its leaves, 20201031, Our front yard in Mountain Home, ID, MILLER, We were sitting outside passing out candy on Halloween, waiting to also capture the blue moon. After taking the shot, I felt the glow of the moon set a natural frame to the photo drawing you into the center of the picture. I didn't want to go too high on my ISO setting to reduce as much grain as I could. I shot on bulb mode playing with the amount of moonlight I exposed to the shot. Camera Settings: Sony A7 II, ISO 200, 105mm, f4, 6s
Leading Lines: Boat in the bayou, Using the boat's surroundings to draw you back to the boat, 20201029, Historic Panama City, MILLER, Setting up this shot, I positioned my self in way that the surrounding would draw you back to the boat. The roof and deck line of the restaurant create vanish points back to the boat, the black boat to the left leads you to the sail boat, and the masts and rigging on the boats also draw you down to the sail boat of focus. Camera Settings: Sony A7 II, ISO 200, 92mm, f4.5, 1/2500s
Symmetry and Reflection: City park fountain, capturing the symmetry of the structure, 20201029, Historic Panama City, MILLER, I found this fountain with the idea to line it up for a Symmetry and Reflection composition. In retrospect I wish I would of moved my frame over slightly to the left to truly capture a symmetric image, but through out the shot what you see one one side you can see on the other side down to the detail of the tops of the parked trucks in the background Camera Settings: Sony A7 II, ISO 200, 34mm, f5, 1/2000s
Foreground and Background: Directional Signs on a bayou dock, pointing to other destinations, 20201029, Historic Panama City, MILLER, I found this set of signs out on the dock and enjoyed the Florida/water life vibe it had. Focusing in on the weathered arrow signs I as able to put the rest of the bayou out of focus, but still visually adding to the water life vibe knowing its a boat and dock in the background. Camera Settings: Sony A7 II, ISO 200, 64mm, f4, 1/1600s
Horizon: Split horizon, equal parts sky and water/ground, 20201029, Panama City Beach, MILLER, As hurricane Zeta made landfall it created amazing cloud formations in the panhandle area of Florida. I wanted to the the horizon of this shot directly in the middle instead of on a rule of third because I felt the sky and the water with the beach had equal parts of interesting lines, light refractions, motion and uniqueness. Camera Settings: Sony A7 II, ISO 200, 24mm, f4, 1/1600s
Isolation: Lone man on the beach looking for washed up treasures, 20201029, Panama City Beach, MILLER, I originally shot this on my camera in B&W, but chose to use this image as the contrast and the black and white work as tool to isolate the already alone man in the shot from the vast area around him. I chose to keep him darker, almost silhouette in order to draw your eye to the profile of him against the rest of the beach. Camera Settings: Sony A7 II, ISO 200, 105mm, f4, 1/50s
My First assignment with my NEW Mirrorless Sony a7II camera, and I was so pumped to be able to bring it with me on a work trip. Being in Florida for the past 10 days gave me a tremendous opportunity to be able to incorporate some phots that I normally wouldn't have been able to shoot as I live in land locked Idaho. Reading and familiarizing myself about these 9 composition principals prior to shooting was helpful in using them to set up the shots to employ the composition techniques. Each of these assignments I can see what we have been learning along the way being employed as well, and can progressively see an improvement on my composition, lighting and overall photographs. At this point in the semester I have begun to become very comfortable with Lightroom Classic making minor exposure/tint/color/etc adjustments to enhance my photography.
31 October Peer Review:
What and amazing exercise. I was given a portfolio to grades for the most part hit every aspect of the Rubric, only falling short on minor details. Though I loved the grungy dark feel of the shoot in the industrial area, I felt hat a few of the images were a bit under expose and lacked some dramatic detail that could of enhanced the shoot......keeping the grungy dark feel, I get a real sense of what the area looked and felt like in the way it was captured on camera.
Assignment 5: The Art of Seeing
1. Hole: Practice hole, stagnant and no one playing in fact a fall leaf is in the hole, 2020 1020, Silvers Sage golf course, Miller, Enjoyed the afternoon prior to leaving on a work trip and found the serenity of the golf course, JPG ISO 50 105 MM F/4 1/320SEC
2. Empty Table, Empty table, , 20201020, Silver Sage golf course, Miller, Enjoyed the aftenoon prior to leaving on a work trip and found the serenity of the golf course, the contrast of the table top and shadows caught my eye, JPG IDO 50 105 mm, f/4, 1/320sec
3. Sand Trap, Pools of light shining on sand trap, 20201020, Silver Sage golf course, Miller, Enjoyed the aftenoon prior to leaving on a work trip and found the serenity of the golf course, I really liked the way the light came through the shadows, pools of bright colors next to the subdued shadow. JPG ISO 50, 75 mm, f/4, 1/200sec
4. Leafy Grean, Leafy Fall Green , calm green littered with leaves instead of golf balls. 20201020, Silver Sage golf course, Miller, Enjoyed the aftenoon prior to leaving on a work trip and found the serenity of the golf course, JPG, ISO 50, 59mm, f/4, 1/200sec
5. Table for no one, Empty patio set beside putting green, 20201020, Silver Sage golf course, Miller, Enjoyed the aftenoon prior to leaving on a work trip and found the serenity of the golf course, JPG, ISO 50 66mm, f/4, 1/640 sec
6. Fringe to Green, Defining line between the fringe meeting the green, 20201020, Silver Sage golf course, Miller, Enjoyed the aftenoon prior to leaving on a work trip and found the serenity of the golf course, i liked framing this shot with the line running diagonally with the frame, JPG, ISO 50 68mm f/4 1/400sec
7. Signs of Fall, Constant reminder of the changing seasons with the fallen leaves littering the greens. 20201020, Silver Sage golf course, Miller, Enjoyed the aftenoon prior to leaving on a work trip and found the serenity of the golf course, JPG, ISO 50, 105mm f/4 1/400sec
8. Lone Tree, Lone tree leading up to the driving range , 20201020, Silver Sage golf course, Miller, Enjoyed the aftenoon prior to leaving on a work trip and found the serenity of the golf course, JPG, ISO 50 73mmm, f/10, 1/200sec
9. Tee Time, Inviting fall day to the Silver Sage Golf Course, 20201020, SilverS age golf course, Miller, Enjoyed the aftenoon prior to leaving on a work trip and found the serenity of the golf course, JPG, ISO 50, 73mm, f/7.1, 1/150sec
10. Shadow, Catching a fun shadow of myself on the putting green while I finished my set of photographs, 20201020, Silver Sage golf course, Miller, Enjoyed the aftenoon prior to leaving on a work trip and found the serenity of the golf course. JPG, ISO 50m 24mm, f/5, 1/160sec
Assignment 5 Reflection: This turn out to be quite the difficult assignment to find my pivot point. I originally found a different location on Mountain Home Air Force Base, but didn't feel I capture images that were as diverse. Still even at the golf course it was difficult to find different points of view and framing to capture. While I was standing in my pivot spot, I took the time to look all around me first with just my eyes, then began to look at objects and points through the lens, beginning to set up each of these shots. The added difficulty to this shot is they had to be 10 consecutive shots…no redos or deleting. I had a lot of fun taking a break from the day and coming out to the golf course to see what I could find. After this shoot, 4 retirees showed up to practice for their Tee Time and I was able to capture them separately from this assignment.
Assignment 4: Channel your inner Eggleston
Evil Clown: Evil looking Halloween clown, positioned the shot to highlight the 'evil' behind the clown, 20201011, Harrison Blvd, MILLER, I enjoy this time of year and this particular street very much and capturing the colors and the 'scary' in this shot was fun. Camera Settings: Nikon D5000 ISO 200, 55mm f/8, 1/200s
Welcome: Harrison Blvd home, positioned the shot to play on all the angles and lines going on with this entry way, 20201011, Harrison Blvd, MILLER, I enjoy this time of year and this particular street very much and capturing the beautiful homes on this street was fun. Camera Settings: Nikon D5000 ISO 200, 46mm f/8, 1/60s
House: Harrison Blvd home, positioned the shot to play on all the angles, lines, textures, and mediums on this house, 20201011, Harrison Blvd, MILLER, I enjoy this time of year and this particular street very much and capturing the beautiful homes on this street was fun. Camera Settings: Nikon D5000 ISO 200, 26mm f/13, 1/250s
Path: Detailed walkway leading up to a front door, capturing the randomness of the leaves scattered on the ordered pattern of the walkway, 20201011, Harrison Blvd, MILLER, I enjoy this time of year and this particular street very much and capturing the colors. Camera Settings: Nikon D5000 ISO 200, 40mm f/10, 1/40s
Watch your step: Curb and gutter area of the street, captured the accumulation of rainwater, leaves and dirt, 20201011, Harrison Blvd, MILLER, I enjoy this time of year and this particular street very much and capturing the colors reflection and the texture of the yellow stubs. Camera Settings: Nikon D5000 ISO 200, 44mm f/10, 1/80s
Crunchy Path: Leave covered path, more randomness on a structured patterned walkway, 20201011, Harrison Blvd, MILLER, I enjoy this time of year and this particular street very much and capturing the colors and textures of the fallen leaves, I can 'hear' this photo. Camera Settings: Nikon D5000 ISO 200, 55mm f/10, 1/125s
Ghosts: Halloween ghosts, captured this amazing balance of light/shadow and color as the light peaked through the trees onto the ghosts, 20201011, Harrison Blvd, MILLER, I enjoy this time of year and this particular street very much and capturing the the way the light was formed around the round heads and passing through the sheerness of the fabric. Camera Settings: Nikon D5000 ISO 200, 36mm f/10, 1/80s
Two Sides: Small town homes, , captured the symmetry of the shadow casting down the center of the complex creating a light and dark side, 20201011, Harrison Blvd, MILLER, I enjoy this time of year and this particular street very much the balance of the lighting drew me to compose this shot. Camera Settings: Nikon D5000 ISO 200, 24mm f/18, 1/200s
Always Watching: Harrison Blvd Home, positioned the shot to frame the hanging ghost with in the rosebush outside the walk way, 20201011, Harrison Blvd, MILLER, I enjoy this time of year and this particular street very much and this shot provokes is the ghost watching us, or are we seeing something through the bushes we aren't suppose to? Camera Settings: Nikon D5000 ISO 200, 55mm f/6.3, 1/40s
Fall Street: Harrison Blvd side street, the purpose was to capture all the variation in leave colors, 20201011, Harrison Blvd, MILLER, I enjoy this time of year and this particular street very much and this shot showcases the beauty of this location in the fall and highlights all the fall colors with the light beams coming through the trees. Camera Settings: Nikon D5000 ISO 200, 44mm f/16, 1/10s
Assignment 3 Set 2 Reflection: What an amazing shoot I was able to capture. With some paper work and talking to the right people, I was able to get a 'press pass' for the flight line at Mountain Home Air Force Base. I spent the entire day at several different vantage points snapping photos. What made this day so special, was my access to the tower... The reason this was so significant, I have been in aircraft maintenance for 18 years and this was the first time I had ever been in an Air Traffic Control tower, with the ability to take photos off the observation deck. Being able to shoot all day, I was able to practice a lot on catching this magnificent piece of equipment at such high speeds. Most of my morning shots where not show cased as I was still trying to adjust for light, shutter speed and get my footing/panning synced up with the speed of the aircraft as it passed by.
Post 2 Photos 4 Oct 2020:
Sunset: Snake river, sun is setting, 20200926, Box Canyon Snake River Idaho, Miller, Sam took me out on a mini date to this spot and I capture several sunset shots, the shutter speed is what i focused on the most to get a balance to show shadow on the canyon walls and not over expose the water or sun as my camera was pointed directly into the light source. Camera Settings: Nikon D500 ISO 200, 55mm, f/16, 1/500s
Raptor Lights: 2019 Raptor, capture the iconic front lights,20200926,rural Idaho, Miller, I wanted to capture the iconic front lights of the raptor, in the dark, but also keep dusk in the background maintaining a balance between the two light sources. This shot I adjusted the amount of light coming in to find that balance. Camera Settings: Nikon D500 ISO 200, 55mm, f/4, 1/20s
Assignment 3 Set 2: Shutter Speed (Panning)
198 Panning: A/C 198, landing sequence, 20201002 @ 1310 mid day sun, Mountain Home AFB, Miller, I wanted to find a subject that I could capture in high speed during different times of the day and play with the light source. Camera Settings: Nikon D500, ISO 320, 200mm, f/25, 1/40s
112 Take off Panning: A/C 112, take off sequence, 20201002 @ 1532 afternoon sun, Mountain Home AFB, Miller, I wanted to find a subject that I could capture in high speed during different times of the day and play with the light source. This was just past passing me and was not able to capture as much movement in the background, instead more of a blur than motion. Camera Settings: Nikon D500, ISO 250, 200mm, f/11, 1/400s
667 Panning: A/C 667, landing sequence, 20201002 @ 1759 evening sun, Mountain Home AFB, Miller, I wanted to find a subject that I could capture in high speed during different times of the day and play with the light source. As the sun went down the lighting became much softer and had to pay attention to my F stop and Aperture to ensure my subject wasn't too dark. Camera Settings: Nikon D500, ISO 200, 200mm, f/22, 1/125s
1705 Panning: A/C 1705, landing sequence, 20201002 @ 1814 evening sun, Mountain Home AFB, Miller, I wanted to find a subject that I could capture in high speed during different times of the day and play with the light source. This is one of my favorites because the sun was in just the right position to capture the detail of the plane, and loved getting the water tower in the back to blur out. Camera Settings: Nikon D500, ISO 200, 200mm, f/22, 1/100s
697 Panning: A/C 697, landing sequence, 20201002 @ 1820 evening sun, Mountain Home AFB, Miller, I wanted to find a subject that I could capture in high speed during different times of the day and play with the light source. The evening sun was perfect while I was capturing these landing shots. I love how the plane looks frozen on a moving backdrop. Camera Settings: Nikon D500, ISO 200, 180mm, f/22, 1/80s
697 Panning 2: A/C 697, landing sequence, 20201002 @ 1820 evening sun, Mountain Home AFB, Miller, I wanted to find a subject that I could capture in high speed during different times of the day and play with the light source. The evening sun was perfect while I was capturing these landing shots. This was just after the aircraft past me, but I was still able to stay on it and capture the movement. Camera Settings: Nikon D500, ISO 200, 180mm, f/22, 1/80s
Assignment 3 Set 2 Reflection: What an amazing shoot I was able to capture. With some paper work and talking to the right people, I was able to get a 'press pass' for the flight line at Mountain Home Air Force Base. I spent the entire day at several different vantage points snapping photos. What made this day so special, was my access to the tower... The reason this was so significant, I have been in aircraft maintenance for 18 years and this was the first time I had ever been in an Air Traffic Control tower, with the ability to take photos off the observation deck. Being able to shoot all day, I was able to practice a lot on catching this magnificent piece of equipment at such high speeds. Most of my morning shots where not show cased as I was still trying to adjust for light, shutter speed and get my footing/panning synced up with the speed of the aircraft as it passed by.
Assignment 3 Set 1: Shutter Speed
1/15s:Hot tub waterfall, moving water, 20201003, Backyard, Miller, I set my camera to SP At 1/15s this shot is completely washed out. Camera Settings: Nikon D500, ISO 400, 86mm, f/25, 1/15s
1/30s: Hot tub waterfall, moving water, 20201003, Backyard, Miller, I set my camera to SP At 1/30s this shot is still washed out. Camera Settings: Nikon D500, ISO 400, 86mm, f/25, 1/30s
1/60s: Hot tub waterfall, moving water, 20201003, Backyard, Miller, I set my camera to SP At 1/60s this shot is starting to darken and sharpen, the aperture has been closed as small as it can go for these last three shots. Camera Settings: Nikon D500, ISO 400, 86mm, f/25, 1/60s
1/125s: Hot tub waterfall, moving water, 20201003, Backyard, Miller, I set my camera to SP At 1/125s this shot is darkening and sharpening more, the aperture is still automatically going to F25 due to the amount of brightness in the shot. Camera Settings: Nikon D500, ISO 400, 86mm, f/25, 1/125s
1/250s: Hot tub waterfall, moving water, 20201003, Backyard, Miller, I set my camera to SP At 1/250s this shot is more balanced than the previous settings, as the shutter speed is starting to pair up with the F stop, which is still at F25. The water has become more defined and very detailed. Camera Settings: Nikon D500, ISO 400, 86mm, f/25, 1/250s
1/500s: Hot tub waterfall, moving water, 20201003, Backyard, Miller, I set my camera to SP At 1/500s this shot is the most balanced than all of the previous settings, as the shutter speed matches the F stop, which has now auto opened to F22. The water has the most definition and detail, vs the first three images where the water was blurred. This final shot has frozen the water stream. Camera Settings: Nikon D500, ISO 400, 86mm, f/25, 1/500s
Assignment 3 Set 1 Reflection: I struggled with the directions to this assignment as I tried to figure out the settings on my camera. I did not have it set to shutter priority and that is what washed out images 1-4. Now knowing how that setting affects the quality of the shot, moving forward and can focus my 'water' action shots accordingly.
Assignment 2 Part 2: Depth of Field and Aperture
This was witch legs shot at 1/25s F8 and ISO 200, Still shot to show depth, 20200926, Backyard, Miller, This was my 2nd favorite outcome when adjusting my ISO/F/Shutter speed. This shot did not have the vibrancy in color as the other, but did capture the depth of the fence in the background. Camera Settings: Nikon D500, ISO 200, 55mm, f/8, 1/25s
This was witch legs shot at 1/80s F4 and ISO 200, Still shot to show depth, 20200926, Backyard, Miller, This was close shot to my favorite outcome when adjusting my ISO/F/Shutter speed. I continued to adjust to see what changed in the photograph. Camera Settings: Nikon D500, ISO 200, 55mm, f/4, 1/80s
This was witch legs shot at 1/80s F4 and ISO 200, Still shot to show depth, 20200926, Backyard, Miller, This was close shot to my favorite outcome when adjusting my ISO/F/Shutter speed. I continued to adjust to see what changed in the photograph. Camera Settings: Nikon D500, ISO 200, 55mm, f/4, 1/80s
This was witch legs shot at 1/25s F4 and ISO 200, Still shot to show depth, 20200926, Backyard, Miller, This started losing color vibrancy when adjusting my ISO/F/Shutter speed. I continued to adjust to see what changed in the photograph. Camera Settings: Nikon D500, ISO 200, 55mm, f/5.6, 1/25s
This was witch legs shot at 1/15s F8 and ISO 200, Still shot to show depth, 20200926, Backyard, Miller, This was my favorite outcome when adjusting my ISO/F/Shutter speed. Out of all the pictures, this had the most color vibrancy while showing depth. Camera Settings: Nikon D500, ISO 200, 55mm, f/8, 1/15s
This was witch legs shot at 1/15s F16 and ISO 1250, Still shot to show depth, 20200926, Backyard, Miller, This started to wash out and lose color vibrancy when adjusting my ISO/F/Shutter speed. I continued to adjust to see what changed in the photograph. Camera Settings: Nikon D500, ISO 1250, 55mm, f/16, 1/15s
This was witch legs shot at 1/60s F16 and ISO 1250, Still shot to show depth, 20200926, Backyard, Miller, This shot darkened back up when adjusting my ISO/F/Shutter speed. There was not much difference between the depths in this shot. I continued to adjust to see what changed in the photograph. Camera Settings: Nikon D500, ISO 1250, 55mm, f/16, 1/60s
This was witch legs shot at 1/40s F16 and ISO 1250, Still shot to show depth, 20200926, Backyard, Miller, This shot was lighter than previous when adjusting my ISO/F/Shutter speed. Still not much difference in depth. I continued to adjust to see what changed in the photograph. Camera Settings: Nikon D500, ISO 1250, 55mm, f/16, 1/40s
This was witch legs shot at 1/15s F16 and ISO 1250, Still shot to show depth, 20200926, Backyard, Miller, This setting washed out and lost color vibrancy when adjusting my ISO/F/Shutter speed. I continued to adjust to see what changed in the photograph. Camera Settings: Nikon D500, ISO 1250, 55mm, f/416 1/15s
This was witch legs shot at 1/15s F16 and ISO 3200, Still shot to show depth, 20200926, Backyard, Miller, This washed out and the legs but began to lose more focus on the background when adjusting my ISO/F/Shutter speed. I continued to adjust to see what changed in the photograph.Camera Settings: Nikon D500, ISO 3200, 55mm, f/16, 1/15s
This was witch legs shot at 1/15s F16 and ISO 200, Still shot to show depth, 20200926, Backyard, Miller, I liked this setting, however it was on the darker side of what I wanted to show. I continued to adjust to see what changed in the photograph. Camera Settings: Nikon D500, ISO 200, 55mm, f/16, 1/15s
This was witch legs shot at 1/25s F16 and ISO 200, Still shot to show depth, 20200926, Backyard, Miller, This was too dark. The tree becomes the focal point of this shot because of the darkness of the photo when adjusting my ISO/F/Shutter speed. I continued to adjust to see what changed in the photograph. Camera Settings: Nikon D500, ISO 200, 55mm, f/16, 1/25s
Assignment 2 Part 2 Reflection: I love my witch legs and it was fun to stage this shot to get my depth of aperture. I was still struggling with the settings on my camera, as that is apparent in my over/under exposed shots, and only a few of the shots truly showing the depth between the legs, tree, and fence line. This assignment gave me a better understanding on how to make adjustments between my ISO, F Stop, and Shutter speed.
Assignment 2 Part 1: Depth of Field and Aperture
Foreground Focus 1: Lime Figure, Focusing on the foreground figure in 1/4 F16, 20200925, Kitchen table, Miller, Out of the 5 foreground focus pictures I took this was the most appealing and over all my favorite shot of the session. Camera Settings: Nikon D500, ISO 100, 55mm, f/16, 1/4s
Foreground Focus 2: Lime Figure, Focusing on the foreground figure in 1/10 F16, 20200925, Kitchen table, Miller, Out of the 5 foreground focus pictures I took this one had the detail and focus of the fore figure, but lacked the lighting I wanted. The middle and background figure were less blurred in this shot. Camera Settings: Nikon D500, ISO 100, 55mm, f/5.6, 1/40s
Foreground Focus 3: Lime Figure, Focusing on the foreground figure in 1/10 F16, 20200925, Kitchen table, Miller, Out of the 5 foreground focus pictures I took this one had the detail and focus of the fore figure, but lacked the lighting I wanted. The middle and background figure were less blurred in this shot. Camera Settings: Nikon D500, ISO 100, 55mm, f/16, 1/10s
Midground Focus 1: White Figure, Focusing on the midground figure in 1/6 F8, 20200925, Kitchen table, Miller, Out of the 6 middle ground focus pictures I took this was the most appealing Camera Settings: Nikon D500, ISO 100, 55mm, f/8, 1/6s
Midground Focus 2: White Figure, Focusing on the midground figure in 1/20 F5.6, 20200925, Kitchen table, Miller, Out of the 6 middle ground focus pictures I took this was becoming too dark and lacked the detail that I wanted, the middle ground was hardest for me to focus and capture. Camera Settings: Nikon D500, ISO 100, 55mm, f/5.6, 1/20s
Midground Focus 3: White Figure, Focusing on the midground figure in 1/50 F16, 20200925, Kitchen table, Miller, Out of the 6 middle ground focus pictures I took this was the by far too dark and lacked any detail that I wanted, the middle ground was hardest for me to focus and capture. Camera Settings: Nikon D500, ISO 100, 55mm, f/8, 1/50s
Background Focus 1: Blue Figure, Focusing on the background figure in 1/4 F8, 20200925, Kitchen table, Miller, Out of the 12 background focus pictures I took this had the most detail and focus on the far figure. Camera Settings: Nikon D500, ISO 100, 55mm, f/8, 1/4s
Background Focus 2: Blue Figure, Focusing on the background figure in 1/30 F8, 20200925, Kitchen table, Miller, Out of the 12 background focus pictures I this setting was hard to get any detail and was too dark Camera Settings: Nikon D500, ISO 100, 55mm, f/16, 1/15s
Background Focus 3: Blue Figure, Focusing on the background figure in 1/2.5 F16, 20200925, Kitchen table, Miller, Out of the 12 background focus pictures I would of liked this one out of the background photos, however, it lacked focus and detail on the far figure. Camera Settings: Nikon D500, ISO 100, 55mm, f/16, 4/10s
Assignment 2 Part 1 Refection: Learning how to show focus on front, mid, rear of a shot was awesome practice....but as you can see not as easily done. The first row shows the front row being the intent of the focus and how different F-stops changes how the eye focused on that front image. I had the hardest time with the mid range image and event he far image was difficult to capture with the settings I was on.
20 Sept 2020, Summarize your week with one photo:
Grooves: Grooves embedded in metal, over time documentation of the hard work and abuse the bed of this tow truck has been put through, 20200910 @2014, Idaho Wrecker Sales, Miller, This suberizes my week to show the hard work I put in every day, and the groves are a permanent reminder of the hard work that has been accomplished. Camera Settings: Nikon D5000, ISO 100, 36mm, f/5, 1/40s
Summarize your week in one photo Reflection: I chose this photo because the week was riddled with obstacles and constant taskers and jobs I had to complete....each one cementing my dedication to my job and solidifying why I love what I do so much. The hard lines in the metal are a reminder of the hard work I put in every single day to the job that I love doing.
20 Sept 2020, Upload 5 images to Lightroom and share link:
Liquid Gold: Hazy IPA, I liked the color and texture of the beer and smoothness of glass on the rough table, 20200906, Boise Idaho, Miller, Sam and I like to spend time outside in Boise walking around. Camera Settings: Nikon D500, ISO 200, 55mm, f/7.1, 1/200s
Drip: Capturing the over spray from the graffiti artists on the Boise Depot bridge, 20200906 @ 1547, Boise Depot, Miller, The colors and texture drew me to this part of the bridge to capture the different color drips running over the other colors. Camera Settings: Nikon D500, ISO 100, 55mm, f/9, 1/320s
Tangled: Camera Settings: Nikon D500, ISO 100, 55mm, f/5.6, 1/60s
"J" Hooks: Camera Settings: Nikon D500, ISO 400, 55mm, f/7.1, 1/40s
Order: Camera Settings: Nikon D500, ISO 450, 55mm, f/5.6, 1/30s
Upload 5 images to Lightroom Reflection: I chose these 5 photos for the uniqueness and diversity with in some of the photos I had shot. The purpose of this photo was to successfully display the ability to upload our 5 images to Lightroom and show proper meta data, titles, and descriptions of each photo to fulfill requirements.
Assignment 1: Week 1 Walkabout
Building/Structure: Light & Wall, light casting on graffiti wall,20200906 @ 1315, Boise Idaho, Miller, Freak Alley is one of our favorite places to walk around downtown Boise. Camera Settings: Nikon D500, ISO 200, 55mm, f/5.6, 1/4000s
Close Up: Bolt bin, organized storage of bolts, 20200910 @ 2016, Idaho Wrecker Sales, Miller, interesting close up of the groves, edges, and texture of the material. Camera Settings: Nikon D500, ISO 800, 55mm, f/5.6, 1/80s
Texture: Weather Woodgrain closeup, capturing the aging of the wood, 20200910 @ 1736, Mountain Home, ID, Miller, Walking around the neighborhood I saw the color and the texture of the weathered wood and found the grain and lines interesting. Camera Settings: Nikon D500, ISO 400, 44mm, f/7.1, 1/30s
Interesting Light: Ice water, water sitting on table, 20200906 @1440, Boise Idaho, Miller, I liked how the light refracted through the ice and the glass as the glass was sitting on the table in the light. Camera Settings: Nikon D500, ISO 200, 68mm, f/10, 1/400s
Depth: Camera Settings: Statue at Capitol Gardens, capturing depth of the outstretched arm, 20200906 @ 1415, Boise Idaho, Miller, I wanted to be able to capture the depth of the shot and found the finger worn down to be the interesting focal point where people have continuously touched the statue. Nikon D500, ISO 200, 55mm, f/8, 1/250s
Assignment 1 Reflection: The first assignment was intimidating. I was very green on the camera I was using and still unsure how to capture the images that I want. Starting with the side of the building my goal was to capture (building/structure) I really enjoyed how the light from the blue sky mated with the color graphic of the wall, even with a stylized graffiti light star in the art to match the one from the sun. The bolts were my close up, I loved the threads and the detail I was able to capture with in the bin of bolts I closed into my frame. When I came across this piece of wood, the colors and texture really stood out to me...the cool blues with the textured layers seemed almost perfect to satisfy this requirement. The interesting light might not be overtly obvious in this photo, but after closer examination its how the light goes through the ice cubes with in the glass and the shade on the rails that I was attempting to capture to make this an "interesting light composition". When I saw this statue I had to focus on the hands of this figure. I wish I had been able to blur the background just a little more, but still think I was successful and showing the depth from the point of the figure back to the actual statues side by side.
