Angela Latham-2017 Annual Faculty Review

RUBRICS FOR SLIP CAST SGRAFFITO PROJECT

Choose mold, strap it with bands, pour slip into mold up to the middle of the top rim, allow it to sit for
25-30 min., pour off and wrap in plastic. Completely cover with plastic and allow to sit for at least 48
hours. Write your name and section number and attach to plastic. 15 pts.)

Remove the slip cast piece from the mold and clean up the mold with plastic knife. No seams should
show; the piece should be smoothed out to include the bottom. (25)

Incise NAME and SECTION NUMBER on the bottom of the piece. (5)

Choose design for sgraffito and trace onto tracing paper. Trace pattern onto to clay with pen. Apply
underglaze evenly with two to three coats, insuring that you can see the design. Carve into pattern with
clean up tools, leaving the desired design. (25)

Glaze the piece and FOLLOW THE DIRECTIONS; glaze should be aesthetically pleasing and if colors are
used they should bright solid colors, along with a smooth application of the glaze. (25)

The piece should be clean of clay debris on the inside. (5)

RUBRICS FOR STAINED GLASS MOSAIC PROJECT

1. Choose Walter Anderson design, get approved by instructor, print color to fit within
border, approximately 7 ½ x 9 ½. Trace puzzle-like pieces to match image with 1/8th of
an inch and no less than 1/16th of an inch of space between each shape. (10)

2. Draw ¼” border and trace design (15)
3. Choose glass that matches the colors of image and cut shapes into puzzle-like pieces,

grind shapes to fit puzzle (30)
4. Glue neatly onto glass leaving margins, no more than 1/8th of an inch and no less than

1/16th of an inch, also make sure glass pieces line up to touch the traced border (20)
5. Clean off all marker and neatly grout (10)
6. Finished mosaic should be clean, neat, and recognizable (10)
7. Place full name and section number on back (5)
8. Frame _______ (Bonus Points 10)

TRANSFERING VIDEOS TO THE COMPUTER

1. Connect your cellphone to the computer using your charging cables USB connector.
2. IF the computer asks whether you want to let the computer access the phone, click CONTINUE.

You may have to click on a button on your phone to allow the computer access, as well.
3. You may have an AutoPlay screen to appear, click “Open device to view files.”

3

3

4. If the AutoPlay screen does not appear, click the “start” button in the lower left corner of the
screen. Then click “Computer” on the left side of the window, following that, click your portable
device.

4

4

5. In the search box, type in “mov” or “mp4” to find the video files on your phone.

5
6

7

6. Use CTRL+Click to select the video files you want to use for your video project.
7. Right click and select COPY from the pop-up menu. If the computer does not allow you to copy

them all at one time, you may have to do it individually.
8. On the left side of the Windows Explorer window, click on DESKTOP.
9. At the top click on NEW FOLDER.

9
8

NOTE: It is critical that

you save all of your files
in the same folder.

During this project,

always double check

where things are

saving. If your files

are not in one place

11 together, you won’t
be able to produce

your final .mp4 video
10 correctly.

10. Name the folder as follows: Your First and Last name – Artist name Video.

11. Open that folder and then Right –click and select PASTE to put your video files within your

project folder.

Camtasia studio 8

Opening Camtasia and importing media

1. Click on START.

2. Click on ALL PROGRAMS.

3. Click on the TECHSMITH folder. 1 3
4. Click on CAMTASIA STUDIO 8. 4
7
5. If the Welcome screen appears, close it.

6. Click on FILE and then NEW PROJECT. 2
7. Click on the IMPORT MEDIA folder.

8. Navigate to your project folder where you saved your video files.

9. Highlight the files that you want to select and click OPEN.

6

9
Introduction to Camtasia studio 8

Creating video with Camtasia studio 8
1. Go to FILE and click SAVE PROJECT.
2. Double check to make sure that you are saving in your video project folder.
3. Name the file as follows: Your First and Last name – Artist name Video.
4. Click on the SAVE.

1

3 4

5. Click on the LIBRARY tab.
6. Click on a theme that you would like to use.
7. Drag the icon beside the ANIMATED TITLE down to TRACK 1.

6

5

7 9
8
8. After you have placed it, drag it to the very beginning of the track.
9. Click on the + in the top left corner of the clip.

10. Double click in the middle of the text callout.
11. In the CALLOUTS work area, type in the TITLE. You can also change the font, add color, and

create effects in this area.
12. The Scrub Head is located over the Text Callout portion of the Animated Title clip.
13. You will see the callout text in the Canvas area.

11

13

12
10

14. Click the MORE tab and select VOICE NARRATION.
15. Click on the START RECORDING button.
16. When you are done with your recording, click on the STOP RECORDING button.

14 15 16
17. Double check to make sure that you are saving in your video project folder.
18. Give the file the name “Introduction Video Clip Narration.”
19. Click on the SAVE button.

18
19

20. Your new narration will appear on Track 2.
21. Drag the end of the Animated Title so that it is just a little wider than your narration. Center the

Narration clip over the Animated Title. This way you will have a little time for the viewer to focus
on the visual before and after the narration.

21
22. Click on the CLIP BIN tab.
23. Drag the video clip you want from the clip bin down to an open area on Track 1.
24. Make sure to drag the video clip over flush with the previous object on Track 1.

23

22

24
25. Move the Scrub Head so that it is located where the new video clip begins.
26. Add the narration that goes with the video clip, repeating steps 14-19.

24

27. If there is a need to shorten the video clip, place the green beginning of the Scrub Head where

the narration ends and drag the red end of the Scrub Head so that it is all the way to the end of

the video clip that needs to be shortened.

28. Click on the SCISSORS icon above the time scale. 28 27

Adding callouts and images

1. When adding images to your video clip, click on the CLIP BIN.
2. Click on the IMPORT MEDIA folder.
3. Navigate to your project folder where you saved your video files.
4. Highlight the files that you want to select and click OPEN.

1

2

4
5. Position the Scrub Head where you would like the image to appear.
6. Once the files are in the CLIP BIN, select the image that you want to place in your video clip and

drag it down to the track above that video clip.

5
6

7. When adding theme callouts to your video clip, click on the LIBRARY tab.
8. Position the Scrub Head where you would like the call out to appear.
9. Click on the desired theme and select the callout that you want to use in your video clip and

drag it down to the track above that video clip it will show up on.

9
78

10. If adding text, double click on the callout to add text to it.
11. You can change the appearance of the shape here. You can also change the location, size, and

rotation of the shape.
12. Make sure that the callout is positioned when it is to appear and stops early enough by dragging

its edge to end before the end of the clip.

11 15

13 14
10

12 & 16
13. When adding theme callouts to your video clip, click on the CALLOUTS tab.
14. Position the Scrub Head where you would like the call out to appear.
15. Click on the desired callout that you want to use in your video clip and it will appear in the

canvas. You can change the appearance of the shape here. You can also change the location,
size, and rotation of the shape.
16. Make sure that the callout is positioned when it is to appear and stops early enough by dragging
its edge to end before the end of the clip.

Adding a library sound clip

1. Click on the LIBRARY tab.
2. Click on the music from the library that you would like to use.
3. You can listen to the music by clicking on the “+” beside each music folder.
4. You can also choose which length of the song you would like to embed into your video. The

length of the song is shown under Duration.
5. Drag the icon for the desired music clip above the video clip that you want it to play.

3 4
25

1

6. Drag the end of the music clip so that it ends when the other clips end.

7. Click on the AUDIO tab.

8. Drag the green circle for the audio level of the music clip down so that

the music will be softer when the narrator is talking. 6
9. Move the Scrub Head to where you want the audio level to change.

10. Click on the ADD AUDIO POINT button for each of the change points.

11. Drag the green circular audio points until the levels are the way you want them.

8

10

79
11

Producing the video
1. From the PRODUCE AND SHARE dropdown box, select PRODUCE AND SHARE.
2. From the dropdown, select MP4 ONLY (UP TO 720P).
3. Click the NEXT button.
4. Name the file as follows: Your First and Last name – Artist name Video.
5. Double check to make sure it is being saved to your video project folder.
6. Click the FINISH button.
7. When it is finished rendering, click the FINISH button.

1
3

2

33

SAMPLE VIDEO NARRATION

Hello there! My name is Angela Latham and I will be TITLE
working with Walter Inglis Anderson, we’re gonna hang out INTRODUCTION
together this semester as I work on all of my projects.
See ya later! VIDEO CLIP
This is Walter Inglis Anderson. He was a painter, a writer
and a naturalist from Ocean Springs, MS, which is where
he actually painted a mural in the public school called
“Ocean Springs Past and Present.” Some of his works was
partially destroyed during Hurricane Katrina. But, thankfully
what is left has been restored and is on site at the
Walter Anderson Museum of Art.

My Multi-Media Project was flown in by a bird cutout PROJECT 1
from the "Lost Murals III" creation, which is ongoing at VIDEO CLIP
the Walter Anderson Museum of Art. Although this
project is abstract, it shows how elegant Walter saw this PROJECT 2
bird to be. VIDEO CLIP
This project was a fun and quirky one! It’s the Slip Cast PROJECT 3
Mold Project. I chose an eccentric teapot because it VIDEO CLIP
reminded me of Walter’s print”Dish and Spoon.” I PROJECT 4
mimicked the colors, choosing one that explodes with VIDEO CLIP
crystallex colors, which puts me in mind of the stars in
the print. CREDITS
This project is called Slip Cast Mold Sgrafitto, which is
where I’ve used Walter’s creation called “Wood Lily with
Pine Cone Background” to carve into my platter. I really
love the way that the curves create an organic pattern.
The Stained Glass Mosaic Project that I created was
based off of Walter’s design called “Queen Head.” Isn’t
she just gorgeous? However, I did exclude the huge mole
on her face. It makes her unique, but I felt she would be
unique enough without it.
Well Walter and I had a blast this semester and as they
say “that’s all folks!’ I hope that you enjoyed my journey
with Walter Ingis Anderson.



Com unicati nphotographic
syllabus

INSTRUCTOR: Angela Latham

CONTACT INFO: 662.325.9260 or

co- [email protected]
3403
sec- OFFICE & OFFICE HOURS: IED Bldg. Room 260,
04
M & W - 8:30a.m. - 9:30a.m. &

12:30p.m. – 2p.m.

T & Th – 9a.m. – 11:30a.m.

CLASS LOCATION: McComas Hall 202



REFERENCES:

A Short Course In Digital Photography
Barbara London, Jim Stone, (ISBN: 0205066429)
Any up-to-date Adobe Photoshop or Lightroom manual (online)

mon.- COURSE OBJECTIVES:
wed.
Study and practice of techniques of photography and digital imaging
10:00am as they relate to visual communication in journalism, public relations,
11:50am mass media, and related fields.

This course is designed to familiarize students with the basic principles
of photography and digital image editing as they relate to a
photojournalistic style of expression. Technical, practical and aesthetic
concerns will be part of each assignment. Students will work primarily
with monochromatic imagery, but will have a brief introduction to color
image editing. Assignments will be shot using a digital SLR camera,
input & perfected in the computer and output in appropriate fashion
(this may differ from assignment to assignment and may involve
multimedia applications in addition to still image editing).

A dSLR (digital single lens reflex) camera outfit (body + lens) is REQUIRED
to complete assignments for this class.

CLASS ATTENDANCE:

Attendance in class and during scheduled critiques is mandatory. Each
student may have up to 3 absences without penalty. Use them wisely.
After 3 absences, the penalty will be 5 points off the final average for
each successive absence, up to a total of 10 points. It is the student’s
responsibility to arrive on time for class and sign the roll sheet.

In accordance with university policy (AOP 12.09), students should attend all classes. When an
absence from class is essential, the student must inform the instructor ahead of time if possible and
provide appropriate documentation. The following are excused absences:

• Participation in an official university activity with authorization from an appropriate
administrator sponsoring the activity (e.g., Department Head or higher).

• If the validity of the activity is questionable, the matter should be referred to the Office of the
Provost and Executive Vice President for final resolution.

• Death in a student’s immediate family to include a student’s parent, legal guardian, sibling,
grandparent, grandchild, spouse or partner, as well as natural, adopted and/or in-law children.

• Participation in legal proceedings or administrative procedures that require a student’s presence.
• Religious holy day.
• Illness that is too severe or contagious for the student to attend class.
• Required participation in military duties.
• Mandatory admission interviews for professional or graduate school that cannot be rescheduled.

An illness or injury of a student’s immediate family (to include parent, legal guardian, sibling,
grandparent, grandchild, spouse or partner, as well as natural, adopted and/or in-law children) is
eligible for excused absences, but is subject to the instructor’s discretion.

University or other organized events intended to provide personal enrichment or entertainment will
not be considered university authorized activities as it pertains to course attendance and will not
qualify as an excused absence.

It is the student’s responsibility to obtain valid documentation from a physician or clinical psychologist
that contains the date and time the student sought medical consultation and/or treatment and
present that documentation to the instructor upon returning to class.
The instructor may ask the student to obtain verification of their excused absence through the Dean
of Students Office.

Excused absences shall not result in attendance or grade penalties.

Certain class periods will be primarily “work” periods. If you come to class unprepared to work, you
will be counted absent. Because of the important nature of critique, late arrival to class on critique
days will not be tolerated and late assignments will not be accepted without a significant reason.

No food or drink is allowed in the classroom space.

CELL PHONE USAGE:

All cell phones are to be turned off upon entering class. They are to remain off and out of sight
during class. Devices will be confiscated.

EVALUATION OF STUDENT PROGRESS:

Grades will be determined by attendance, timeliness and completion of projects. The use of rubrics
will inform students of all components that are necessary for satisfactory completion of course work.

Grading: Grading Scale:



Assignments 55%

iReport (5%) 90 - 100 = A

Basic Camera Use (10%) 80 - 89 = B

The Chair (12.5%) 70 - 79 = C

Technical Portfolio (15%) 60 - 69 = D

Communication Portfolio (12.5%) below 59 = F

Electronic Journal 20%

Final Project 25%

100%

A grade of “A” would indicate consistently excellent work, a “B” would indicate above average
work, and a “C” grade would indicate average work. Average should be defined as turning in the
assignment or project on time and meeting all stated requirements. Above average and excellent
grades are earned by exceeding the assignment or project specifications in a demonstrable way,
generally by aesthetic concerns and technical skill. Grades of a “D” or “F” are earned by failing to
meet deadlines and expectations for assigned coursework.

Assignments – 55 %
Photographic assignments will be the main crux of this class. They will range from the technical to the
aesthetic, covering different aspects of photography & photojournalism. Each assignment will have
unique guidelines. All work MUST be turned in within the project. Late work MAY be accepted with a
penalty and an approved explanation.

Electronic Journal – 20%
You will be required to keep a weekly journal of published imagery related to the assignments and
assigned readings for the class. This journal will created in Adobe Spark and will be due near the end
of the term.

Final Project (Photographic Essay) – 25 %
The final project for this class will be an expanded photographic essay (4-6 image). Images selected
for the essay will be due in a still format and also in an alternative format (web, multimedia). Style
and subject matter for your essay must be approved. The photographic essay is to be completed in
Adobe Spark.

Failure to present a Final Project will constitute in a Failure of the class. No exceptions.

MISSISSIPPI STATE UNIVERSITY STUDENT HONOR CODE

You are expected to maintain the highest levels of academic integrity in this class. All work that you
submit must be your own, original work, done specifically for this class, this semester. Any academic
misconduct will be handled in the manner prescribed in the Mississippi State University Honor Code.
Mississippi State University has an approved Honor Code that applies to all students. Upon accepting
admission to Mississippi State University, a student immediately assumes a commitment to uphold the
Honor Code, to accept responsibility for learning, and to follow the philosophy and rules of the Honor
Code. Students will be required to state their commitment on examinations, research papers, and
other academic work. Ignorance of the rules does not exclude any member of the MSU community
from the requirements or the processes of the Honor Code
“As a Mississippi State University student I will conduct myself with honor and integrity at all times. I will
not lie, cheat, or steal, nor will I accept the actions of those who do.”
You can access the honor code at: http://students.msstate.edu/honorcode

DISABILITY:

If accommodations (based on the Americans with Disabilities Act (ADA) and Section 504 of the
Rehabilitation Act) are needed, students should notify the Instructor within the first two (2) weeks of
the semester. All reasonable accommodations will be provided to ensure that special needs based
on disabilities do not restrict a student’s opportunity to learn and participate in the class. Written
confirmation from the MSU Student Support Services office (SSS) is required for accommodations
during the class session and during tests/exams.
SSS office is located at: Montgomery Hall, telephone: (662) 325-3335.
For more information see: http://www.sss.msstate.edu/disabilities/

TITLE IX:

MSU is committed to complying with Title IX, a federal law that prohibits discrimination, including
violence and harassment, based on sex. This means that MSU’s educational programs and activities
must be free from sex discrimination, sexual harassment, and other forms of sexual misconduct. If you
or someone you know has experienced sex discrimination, sexual violence and/or harassment by any
member of the University community, you are encouraged to report the conduct to MSU’s Director
of Title IX/EEO Programs at 325-8124 or by e-mail to [email protected]. Additional resources are
available at http://www.msstate.edu/web/security/title9-12.pdf or at http://students.msstate.edu/
sexualmisconduct/ .

MINIMUM REQUIRED SUPPLY LIST

dSLR Camera and Lens

•dSLR Camera Body
· This type of camera allows you to remove & exchange lenses, and has a viewfinder.
· It must have full manual capabilities or overrides - This means you can adjust aperture, shutter
& focus
•dSLR Camera Lens (at least 1)
· Generally the lens needs to be the same brand / mount as your camera body.
· Lens should be a standard or zoom lens including a “Normal” field of view
(35mm for most dSLR cameras)

dSLR camera bodies are not required to have video capabilities.

Imaging Supplies for dSLR Camera Users

•Appropriate Memory Card to fit your camera. (8 GB or greater recommended)

Required Storage

•Portable Hard-drive or USB Flash-Drive (8 GB or larger recommended)

A TRIPOD is very useful but is not a required item. Students should have no other expenses beyond the
procurement of the camera and an appropriate memory card and storage

your camera

Viewfinder Delete Metering
found on modes
An optical viewfinder shows all cameras
the image through the lens. Playback Exoposure
use to review compensation
Zoom photos
Flash Self Timer
Zoom in on your switch it for self
image to check on or off portraits
it’s in focus. Portrait
Sports perfect for
Controls action mode people
Battery
Use the control + Zoom life
in on your
panel to change photos Home
where you
settings, scroll - Zoom started
Video
through menu out on your movie
photos shooting
options or move Macro Drive Mode
close-up including
around a photo modes burst
Landscape Image
when in for wide stabillisation
angles
LCD screen Menu Playback mode. Night-time
low light
Displays an electronic For options such as formatting scenes
view of the scene in
front of the lens. your memory card.

Shutter Camera Mode Icons
Button
Make sure your camera is always on the correct
Activates setting by following this guide.
autofocusing and A DSLR will usually have a mode dial on top. The icons
takes the picture. for setting the camera to shoot in different conditions
and for basic operation such as deleting images are
usually universal.

Manual Exposure

Aperture Movie
Priority Shooting
Shutter
Priority Night Portrait
Program Food

Scene Sports
Intelligent Macro/Close-up
Auto

Power Flash Off Landscape

Turn on and off. Creative Portrait
Auto

Read Chapter 1: Camera, Chapter 2: Lens, & Chapter 3:
Light and Exposure

Image–Film or Sensor (for Digital: page 4-5)
Film Film is used to permanently record the image formed by the

lens. It consists of a light sensitive emulsion on an acetate
or plastic base.

Film A measure for the light sensitivity of film
speed/ISO . dSLR cameras approximate this setting.
Digital Converts the light coming from the lens into electrical
Sensor signals that are sent to a memory card.
Memory Device that stores the digital ‘exposure’ prior to transferring
Card it to a computer, other storage device, or printer.

File Format The type of file that a dSLR camera uses to store the digital
exposure.
JPEG (or JPG) is a common format but uses a lossy
compression algorithm and limits editing/printing options.
RAW file formats (NEF, CR2, ORG, etc...) are generally
specific to each camera but are not compressed and allow
for a greater amount of correction. Each RAW file is stored
at the maximum resolution of the Camera.

Exposure (page 6-8, 16, 60-73)

Exposure An exposure describes the amount of light falling on the

light sensitive film or digital sensor after the shutter is

released. The exposure is controlled by a combination of

aperture and shutter speed.

Normal An exposure that produces a “negative” ideally suited for

Exposure the desired print.

Underexposure An exposure that produces a thin (transparent)

“negative”, which prints too dark. On a dSLR, the image

will be flat with no rich shadows or defined highlight.

Overexposure An exposure that produces a dense (dark) “negative”,

which prints too light. On a

dSLR, the image will be very bright with hard to discern

details.

Light meter An instrument, either built into the camera or used hand

held, that measures the amount of light either falling on a

subject or reflecting off a subject. It is used to calculate

an exposure setting of shutter speed and aperture.

TTL meter Through-The-Lens exposure meter common in most
Stop 35mm SLR/dSLR cameras.
The unit of light described by one step on the aperture
ring, one step on the shutter speed dial, or a

doubling/halving of the film speed. Apertures, shutter
speeds and film speeds all involve either a halving or
doubling of values between full steps. The amount of light
either halved or doubled by moving up or down in full
steps on any of these scales is a stop. Moving either the
aperture ring or the shutter speed dial one step changes
the exposure by one stop.

Camera –Lens (page 6-7, 14-17, 22-25, Chapter 2 -All)

Lens A lens consists of one or more optical glass elements

arranged to sharply focus the scene in front of the

camera on to the film or digital sensor.

Focal Length The distance from a point in the lens to the focal (film)

plane when the lens is focused on infinity. Longer focal

length lenses bring you closer to the subject by

increasing magnification.

Zoom Lens A lens that can be adjusted to all focal lengths within its

zoom range.

Normal Lens A lens where the focal length matches the diagonal

measurement of the negative format it is used with.

Normal lenses closely resemble human vision in their

view of the subject.

(50mm for SLR, @ 35mm for dSLR

Short Lens A lens with a shorter than normal focal length. Subjects

seen through a short lens will appear smaller than

normal, and the lens will include more of the subject than

a normal or long lens.

Long Lens A lens with a longer than normal focal length. Subjects

seen through a long lens will appear larger than normal,

and the lens will include less of the subject than a normal

or short lens.

Framing The process of selecting elements of the scene to be

included in or excluded in the resulting exposure.

Perspective The impression of scale and depth in an image.

Focus In focus refers to the point where rays of light converge

on the film (or sensor) to form a sharp image. To focus

involves adjusting the lens to film

(or sensor) distance by turning the lens barrel until the

desired subject in the scene appears sharp in

Focus.

Plane of Focus Only one point of a scene can be in critical focus. This is

the plane of focus. Depth of field controls the appearance

of sharpness in front of or behind this plane.

Depth of Field The area from near to far that appears sharp in a

photograph.

Aperture An adjustable opening within the lens used to control the
intensity of the light falling on the film or sensor during
f-stop exposure. The aperture, given by an f-number, refers to
the size of this opening.
Maximum
Aperture The relative size of an aperture opening is given
Minimum by the f-stop. A common sequence of f-stops for
Aperture an SLR/dSLR lens: f/2.8, f/4, f/5.6, f/8, f/11, f/16,
and f/22. A lens might have larger (smaller f-
number) or smaller (larger f-number) aperture
openings. The f-stop = The focal length of the lens
divided by the diameter of the lens opening.
The intensity of light given by one particular f-stop
is the same for all lenses.

The widest lens opening.

The smallest lens opening

Camera-Body (page 6-7, 14-21, 21-21)

Shutter The shutter mechanism opens and closes to

control the length of time the film is exposed to

Shutter speed light.

The actual time that the shutter remains open to expose the
film.

Motion Every photograph is a still moment in time. A slow

shutter speed can blur a moving subject and

create an impression of motion in the photograph.

A fast shutter speed can freeze the action in a split

Viewfinder second.
Shows the image that will be seen by the lens and

captured by the camera sensor or film.

Camera Controls functions like setting the focus, aperture,

Dials/Buttons shutter, film speed, film advance and rewind and

other important adjustments. May very in form and

function from camera to camera.

black and white editing in
photoshop
CO-3403

1. Use the application Adobe Bridge to preview your images and open photographic communication
your files with ADOBE CAMERA RAW. Review the information about the
Camera Raw Dialog Box Adjustments to help you adjust the sliders. Your
goal is to create a neutral image where the colors appear natural.
2. Click the Get Photos from Camera Icon. The Photo Downloader screen
will appear.
3. Click the downdrop box to select your camera.
4. Then click the Get Media button.

2

3
4

CO-3403

photographic communication 5. Select your Image in Bridge. Make sure you are opening the RAW
version of your image file by clicking File> Open in Camera Raw.
6. The following dialog box will appear. Make changes to your image
by adjusting the sliders.
(Do NOT adjust the Vibrance or Saturation sliders when working with
an image to be converted into B/W)
Your goal is to create a neutral image. An image is considered
“neutral” when the colors appear natural – as if you were looking at
the actual objects, not a photograph of them.

5
6

CO-3403

Switching To Photoshop:

7. Hold down the shift key when you are finished with your adjustments.
The “Open Image” button will change to the “Open Object” button.
Click to open your image as a Smart Object in Photoshop.

8. This will allow you to re-open the ACR dialog box and make further photographic communication
adjustments. Any adjustment made in ACR is non-destructive – you can
re-
do the basic image sliders, crop, and also any other available
adjustments. You can just “double-click” on the image icon in the Layer
tab to re-open
and click “OK” when you are finished.

(NOTE: Photoshop will have multiple ways of navigating menus and

dialog boxes to make desired adjustments. It’s ok.)

7
8

photographic communicationCO-3403

In Photoshop:

9. Crop slightly if desired (or required) Check your assignment sheet
for required aspect ratio (H : V). Select the Crop Tool, uncheck ‘Delete
Cropped Pixels’ in the Tool Options Dialog Box at the top.
10. Check your assignment sheet for the minimum final image size,
expressed as pixel data. You can see the document sizes after cropping by
looking at the info box on bottom left side of screen.
11. If you need to re-crop at a later date, Choose Image> Reveal All to
return to un-cropped image.

9

11

10

CO-3403photographic communication

Translate your color file into a monochromatic (B/W)
image:

12. Create a new “Black & White” Adjustment Layer by clicking
Layer> New Adjustment Layer> Black & White.
13. A New Layer Dialog box will appear, click OK.
14. This is the dialog box for the “Black & White” Adjustment Layer:
Adjust the sliders until your image contains the optimum contrast
levels. You can use the basic adjustment (preset none) and fine-
tune your image with Curves. Do NOT check the Tint box.
15. You can also click on the hand icon. Once you do so, simply
place your cursor into an area of the image that you wish to adjust
and ‘drag’ to the left to darken or ‘drag’ to the right to lighten the
selected tones.

15

14

12

13

photographic communicationCO-3403

Adjust the contrast using Curves via an Adjustment Layer

16. Create the Curves Adjustment Layerby clicking Layer> New
Adjustment Layer> Curves.
17. A New Layer Dialog box will appear, click OK.
18. This is the dialog box for the “Curve” Adjustment Layer:
Click on the Curve to create an editable point. Moving the point up or
to the left will brighten that part of the image. Moving the point down
or to the right will darken that part of the image.
19. You can also click on the hand icon . Once you do so, simply
place your cursor into an area of the image that you wish to adjust
and ‘drag’ down to darken or ‘drag’ up to lighten the selected tones.
A good curve will produce an image that has a true black, a good
highlight and many distinct shades of grey in between those points.

19

18

16

17

CO-3403

To Add Contrast: To Decrease Contrast:

To Brighten An Image: To Darken An Image photographic communication

20. See your changes by “Double-Clicking” on 20
the EYE. This works for all image areas. 21
21. To make changes at a later time, access
by “Double-Clicking” on the ICON.

photographic communicationCO-3403

Save your File According to Project
Specifications

You will always need to save your image as a
Photoshop File (.psd). Check your assignment
sheet for the proper naming conventions for each
project. Always save “Layers”. You can check
‘Embed Color Profile‘ if you want. Do not worry
about options not listed here.

color editing in
photoshop
CO-3403

1. Use the application Adobe Bridge to preview your images and open photographic communication
your files with ADOBE CAMERA RAW. Review the information about the
Camera Raw Dialog Box Adjustments to help you adjust the sliders. Your
goal is to create a neutral image where the colors appear natural.
2. Click the Get Photos from Camera Icon. The Photo Downloader screen
will appear.
3. Click the downdrop box to select your camera.
4. Then click the Get Media button.

2

3
4

CO-3403

photographic communication 5. Select your Image in Bridge. Make sure you are opening the RAW
version of your image file by clicking File> Open in Camera Raw.
6. The following dialog box will appear. Make changes to your image
by adjusting the sliders.
(Do NOT adjust the Vibrance or Saturation sliders when working with
an image to be converted into B/W)
Your goal is to create a neutral image. An image is considered
“neutral” when the colors appear natural – as if you were looking at
the actual objects, not a photograph of them.

5
6

CO-3403

Switching To Photoshop:

7. Hold down the shift key when you are finished with your adjustments.
The “Open Image” button will change to the “Open Object” button.
Click to open your image as a Smart Object in Photoshop.

8. This will allow you to re-open the ACR dialog box and make further photographic communication
adjustments. Any adjustment made in ACR is non-destructive – you can
re-
do the basic image sliders, crop, and also any other available
adjustments. You can just “double-click” on the image icon in the Layer
tab to re-open
and click “OK” when you are finished.

(NOTE: Photoshop will have multiple ways of navigating menus and

dialog boxes to make desired adjustments. It’s ok.)

7
8

photographic communicationCO-3403

In Photoshop:

9. Crop slightly if desired (or required) Check your assignment sheet
for required aspect ratio (H : V). Select the Crop Tool, uncheck ‘Delete
Cropped Pixels’ in the Tool Options Dialog Box at the top.
10. Check your assignment sheet for the minimum final image size,
expressed as pixel data. You can see the document sizes after cropping by
looking at the info box on bottom left side of screen.
11. If you need to re-crop at a later date, Choose Image> Reveal All to
return to un-cropped image.

9

11

10

CO-3403photographic communication

Adjust the contrast using Curves via an Adjustment Layer

12. Create the Curves Adjustment Layer by clicking Layer> New
Adjustment Layer> Curves.
13. A New Layer Dialog box will appear, click OK.
14. This is the dialog box for the “Curve” Adjustment Layer:
Click on the Curve to create an editable point. Moving the point up or
to the left will brighten that part of the image. Moving the point down
or to the right will darken that part of the image.
15. You can also click on the hand icon . Once you do so, simply
place your cursor into an area of the image that you wish to adjust
and ‘drag’ down to darken or ‘drag’ up to lighten the selected tones.
A good curve will produce an image that has a true black, a good
highlight and many distinct shades of grey in between those points.

15

14

12

13

CO-3403

To Add Contrast: To Decrease Contrast:

photographic communication To Brighten An Image: To Darken An Image:

16 16. See your changes by “Double-Clicking” on
17 the EYE. This works for all image areas.
17. To make changes at a later time, access
by “Double-Clicking” on the ICON.

CO-3403photographic communication

18. Adjust the RBG (composite) channel for density. You will have the
same concerns regarding black points, white points and mid-tone contrast
regardless of whether you are editing in B/W or Color.
19. Now adjust the three additional Curve channels (R, G, B) to achieve a
neutral color balance and remove color casts. Generally only 1-2 points are
needed in each color adjustment channel. Adjustments made in the color
channels should not be dramatic.
Adjustments may not be necessary in all channels –but try each one anyway
to be sure. When you finish the color adjustments, double check your RGB
(composite) channel for accuracy.

RED ZONE

Moving a Point into this
Zone of the image adds
a RED cast
(Subtracts cyan)

CYAN ZONE

Moving a Point into
this Zone of the image
adds a CYAN cast
(Subtracts red)

CO-3403

GREEN ZONE

Moving a Point into this
Zone of the image adds
a GREEN cast
(Subtracts cyan)

photographic communication MAGENTA ZONE

Moving a Point into this
Zone of the image adds a
MAGENTA cast
(Subtracts green)

BLUE ZONE

Moving a Point into this
Zone of the image adds
a BLUE cast
(Subtracts yellow)

NOTES:

I would recommend

closing and re-opening

Curve Adjustment Layer

dialog box between YELLOW ZONE
channels so that you are
“previewing” from your Moving a Point into this
last change, Zone of the image adds a
not from all of your YELLOW cast
(Subtracts blue)

adjustments at once.

When you re-open the

Curve Adjustment Layer dialog box, the default channel is the RGB composite

channel. Remember to use the drop down box to select the desired channel.

Save your file according to project specifications

Com unicati nphotographic

eldeemseignnts

UNITY - elements look as though they belong together, also
known as Harmony.

co- PROXIMITY - placing elements close together can create
3403 unity.
sec- REPETITION - repeat elements or groups of elements to imply
04 unity.
CONTINUATION - a line, edge, or direction flows from one
mon.- form to the next.
wed.
UNITY and VARIETY - employing slight changes between the forms
10:00am to avoid visual boredom.
11:50am
EMPHASIS/FOCAL POINT - most important element in a design is
called the focal point, this is what you want the viewer to respond
to.

By CONTRAST - one element is noticeably different from
others.
By ISOLATION - one element is visually separated from
others by distance.
By PLACEMENT - other elements seem to point to one
element.
Lack of FOCAL POINT - purposely not utilizing a focal point,
anti-climatic.

BALANCE - equal distribution of visual weight

SYMMETRICAL - repetition of forms across a vertical or
horizontal axis.
ASYMMETRICAL - dissimilar objects that share a visual weight

By VALUE - contrast between light and dark

By SHAPE/TEXTURE - variation in shape or texture

between similar elements.

By POSITION - i.e. a heavy item placed towards the

center is balanced by a smaller item placed towards

the edge

RADIAL - all elements radiate out from a single point
By PATTERN - uniform balance is achieved by patterning

SCALE/PROPORTION - relative size - whether the piece itself is large or small within work - are
all of the elements roughly the same size, do they over - or under - whelm the size of the
piece

As CONFUSION - purposely mismanaging proportion.

RHYTHM - the visual movement of the piece

And MOTION - how one’s eye moves over the piece
Alternating - successive patterns where elements appear in a regular order.
Progressive - sequential pattern, i.e. regular and recognizable change.

LINE - mark made on the surface of a piece, has length and width.

SHAPE - visually perceived area in a piece, defined by line or changes in tone.

TEXTURE - surface quality of a line or shape; either implied or real.

ILLUSION OF SPACE/DEPTH - use of perspective or overlapping to imply illusion of 3-D space.

ILLUSION OF MOTION - use of repetition, fuzziness of outlines, or multiple images to imply
motion.

VALUE - simply the artistic term for light and dark.

WHITE BALANCE

In very simple terms, adjusting the white balance is a
matter of identifying what objects in the image should be
neutral-colored (white or gray) and then adjusting the
colors in the image to make those objects neutral-colored.

TEMPERATURE
Sets the white balance to a custom color temperature.
Decrease Temperature to correct a photo taken with a
lower color temperature of light; the Camera Raw plug-in
makes the image colors bluer to compensate for the lower
color temperature (yellowish) of the ambient light. Increase
Temperature to correct a photo taken with a higher color
temperature of light; the image colors become warmer
(yellowish) to compensate for the higher color temperature
(bluish) of the ambient light.

Note:
The range and units for the Temperature and Tint
controls are different when you are adjusting a non-
camera raw image, such as a TIFF or JPEG image.

TINT
Sets the white balance to compensate for a green or
magenta tint. Decrease Tint to add green to the image;
increase Tint to add magenta.

TONE

EXPOSURE
Adjusts the overall image brightness, with a greater effect
in the high values. Decrease Exposure to darken the image;

increase Exposure to brighten the image. The values are in
increments equivalent to f-stops. An adjustment of +1.50 is
similar to widening the aperture 1-1/2 stops. Similarly, an
adjustment of - 1.50 is similar to reducing the aperture 1-1/2
stops. (Use Recovery to bring highlight values down.)

CONTRAST
Increases or decreases image contrast, mainly affecting
mid-tones. When you increase contrast, the middle-to-dark
image areas become darker, and the middle-to-light
image areas become lighter. The image tones are inversely
affected as you decrease contrast.

HIGHLIGHTS
Adjusts bright image areas. Drag to the left to darken
highlights and recover “blown out” highlight details. Drag
to the right to brighten highlights while minimizing clipping.

SHADOWS
Adjusts dark image areas. Drag to the left to darken
shadows while minimizing clipping. Drag to the right to
brighten shadows and recover shadow details.

WHITES
Adjusts white clipping. Drag to the left to reduce clipping in
highlights. Drag to the right to increase highlight clipping.
(Increased clipping may be desirable for specular
highlights, such as metallic surfaces.)

BLACKS
Adjusts black clipping. Drag to the left to increase black
clipping (map more shadows to pure black). Drag to the
right to reduce shadow clipping.

COLOR

(Ignore all but clarity when wanting to create a B/W
image)

CLARITY
Adds depth to an image by increasing local contrast. This
setting is similar to a large-radius unsharp mask. When using
this setting, it is best to zoom in to 100% or greater. To
maximize the effect, increase the setting until you see halos
near the edge details of the image and then reduce the
setting slightly.

VIBRANCE
Adjusts the saturation so that clipping is minimized as colors
approach full saturation, changing the saturation of all
lower-saturated colors with less impact on the higher-
saturated colors. Vibrance also prevents skin tones from
becoming oversaturated.

SATURATION
Adjusts the saturation of all image colors equally from -100
(monochrome) to +100 (double the saturation).

LENS CORRECTIONS (6th tab over in adjustments panels)

In the profiles sections (default) – click “Enable Lens Profile
Corrections” Choose the make, model and profile for your
lens.

co- A ignmCenoptmhotuongicraatiphnic
3403 iREPORT
sec-
04 The purpose of this assignment is to start you off on your
photographic communication journey before you start using your
dSLR style camera. As we are all equipped with cell phones, we
will put them to use for this project.

You are to create a 3-photo “iReport” over the weekend. You
should take many shots to choose the best 3 photo’s that describe
your photo story best. The photo story must be created in Adobe
Spark with creativity and visual communication.

How to Manipulate the chosen
photo’s:
1. Click on the photo, at the

bottom of the screen click
the icon to manipulate
your photos if necessary.
Here you can crop, adjust
the tone, or change the
brightness.

mon.- 1
wed.

10:00am
11:50am

How to retrieve your photo’s:

2. Go to your photo album and select the chosen photos, then click the share icon.
3. Then click on the mail icon.
4. Proceed to email the pictures to yourself, once you click send it will prompt you to choose

what size you need, Click “Actual Size”.

23 4

Now is time to create your iReport in Adobe Spark!

co- A ignmCenoptmhotuongicraatiphnic
3403 BASIC CAMERA USE
sec- rubrics
04
1. Familiarize yourself with the basic operations of your dSLR
camera. Using your camera’s Meter to determine the
correct aperture/shutter combinations for all shots. Use ISO
400. (15 pts.)

2. You should have a total of 7 photographs to include
Exposture-Normal, Underexposed and Overexposed,
Aperture Adjustments-Minimum Aperture and Maximum
Aperture, and Shutter Adjustments-Unidentified Flying
Object and Frozen Midair. (50 pts.)

3. All photographs should comply with the assignment sheet
instructions. Keep in mind that the instructions ask you to
keep either the .jpg or RAW extensions. So if you adjust
images in photoshop, you will need to save as .jpg or
export to .jpg. (35 pts.)

4. Upload assignment to BlackBoard before deadline. After
the deadline the assignment will be considered a day late
and each day following will be a 5pt. deduction.

mon.-
wed.

10:00am
11:50am

co- A ignmCenoptmhotuongicraatiphnic
3403 BASIC CAMERA USE
sec-
04 The purpose of this assignment is to familiarize you with the basic
operations of your dSLR style camera. You will use the digital
mon.- equivalent of a first roll of film to adjust your camera to various
wed. aperture, shutter, and exposure combinations.

10:00am All exposures should be taken outdoors during daylight hours. Use
11:50am your camera METER to determine the correct aperture/shutter
combinations (exposure) for all shots. Zoom lens should be set at
focal length 35mm for most dSLR cameras(If you have a full-frame
dSLR, use a focal length of 50mm for this assignment).

Unless otherwise indicated, your focal point should be an object
that is approximately 8-10 feet away from the camera and placed
in the center of the frame. All objects should be at eye level, sized
between a large stuffed animal and a person, and objects meant
to be ‘in focus’ should be centered in the viewfinder.

The focusing screen on your camera probably has more than 1
focus location indicator (seen as ‘squares’ through the viewfinder)
For this assignment; set the square (usually by moving the
command dial on rear of camera) to the center most indicator.
It should ‘glow red’ briefly when the shutter button is depressed
halfway and will also usually be indicated on the rear LCD screen.
Intended focal point object should completely fill the ‘square’.

Review Chapters1-3as needed, Read Chapter 9: Seeing Like A Camera

Use dSLR camera at ISO 400 set at RAW+JPG, White Balance set to
AUTO. Images may be in BW or Color for this assignment, but BW is
preferred.

EXPOSURE: 3 Images Due
Use Aperture f8. Meter to determine correct shutter speed.
DO NOT CHANGE YOUR POSITION -IMAGES SHOULD BE EXACTLY
THE SAME EXCEPT FOR THE EXPOSURE.
• Create a properly exposed image involving an object in a

strange location (out of place).
• Deliberately UNDEREXPOSE the scene and take a 2nd shot.

(minimum 2-3 whole-stop shutter speeds faster)
• Deliberately OVEREXPOSE the scene and take a 3rd shot.

(minimum 2-3 whole-stop shutter speeds slower)

APERTURE ADJUSTMENTS: 2 Images Due (shoot minimum of 6 sample shots to choose from)
Meter to determine correct shutter speed.

• With your minimum aperture(big number)-create a scene with at least 3 large objects
located at 5, 10 and 15 feet from the camera. Focus on the middle object (the one at 10
feet). All objects should be sharp.

• With your maximum aperture (small number)-create a scene with at least 3 large objects
located at 2, 3 and 6 feet from the camera. Focus on the middle object. Only the middle
object should be sharp. (If you need to move your object closer than 3 feet, that’s ok)

SHUTTER ADJUSTMENTS: 2 Images Due (shoot minimum of 6 sample shots to choose from)
Meter to determine correct aperture setting. Only the objects should move –NOT the
camera.

• Create an “Unidentified Flying Object” using the principles of blurred motion (slow shutter,
generally ≤ 1/125).

• Freeze an object in midair that symbolizes the life of an MSU student (fast shutter,
generally ≥ 1/250).

Timetable
Email First Try by September 5, 5pm
Final Images Due: September 13-BEGINNING OF CLASS

Final Image Formatting to Turn In:

Step 1: Using the Adobe Bridge Program (ESSENTIALS module), organize and copy your
images into a new folder on the desktop called ‘LastName_BCU‘. You can use either the
RAW or .jpg version of the image.

Step 2:
Rename your image files as indicated below (01-07). Keep the original file
extension
at the end of the file name (.jpg, or .nef, or .cr2, etc...).
01_Normal Exposure
02_Under Exposure
03_Over Exposure
04_MinAperture
05_MaxAperture
06_UFO
07_FrozenMidair

Step 3:
Upload to Basic Camer Use BlackBoard Assignment

Helpful Tips & Things to Remember
•Your camera has an optimum focusing range for objects between 5 –25 feet away
•Think about your position (point of view) in relation to your subject
•Remember to focus your images & use the correct exposure ratio

List of Whole Stop Aperture Settings (from large to small)
2 2.8 4 5.6 8 11 16 22

List of Whole Stop Shutter Speed Settings (from fast to slow) 1/4 1/2 1
1/1000 1/500 1/250 1/125 1/60 1/30 1/15 1/8

NOTE: Your camera may have larger/smaller aperture settings or faster/slower shutter speed
settings. This is just meant as a representative list.