Angela Latham 2018 Annual Review

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.

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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.

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CO-3403photographic communication
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
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.)

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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.

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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.

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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

co- Com unicati nphotographic
3403
sec- eldeemseignnts
04
UNITY - elements look as though they belong together, also
mon.- known as Harmony.
wed.
PROXIMITY - placing elements close together can create
10:00am unity.
11:50am REPETITION - repeat elements or groups of elements to imply
unity.
CONTINUATION - a line, edge, or direction flows from one
form to the next.

UNITY and VARIETY - employing slight changes between the forms
to avoid visual boredom.

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.

1. Find a photograph published on a website of a
newspaper or news magazine. The photograph
should be visually engaging and capture your
attention. The photograph may NOT be an
advertisement. (20 pts.)

2. Download photograph from the web, which
should be in the “.jpg” format. Create a Word
document to insert the image in making sure that it
is at least ¾ of the page width. (15 pts.)

3. Your header should be complete with the required
information that is on the assignment sheet.
(10 pts.)

4. Your photograph must be correctly cited in APA
format, with a properly working link. (15 pts.)

5. Save the file with the correct title as described on
the assignment sheet. (15 pts.)

6. Write a paragraph describing the image and
explain why you picked this particular image. If
you choose a news photograph, you should also
write about how well the story is conveyed through
the imagery. (25 pts.)

A ignmCenoptmhotuongicraatiphnic
find a striking
photograph

co- Find a photograph published on a website of a newspaper
3403 or news magazine. Flickr, Google Images, and similar photo
sec- sharing sites are not allowed. The photograph should be visually
04 engaging and capture your attention. The photograph may
NOT be an advertisement. You will have ten complete striking
mon.- photographs to complete in ten consecutive weeks.
wed.
1. PROCEDURE FOR SAVING THE IMAGE FILE
10:00am
11:50am Download image from the web by right

clicking image and saving it or click & drag

the image into the desired folder. Files

should be in the “.jpg” format. You may

wish to store this image on your Flash Drive.

(If the image you find is in a “flash” or other

proprietary format, you will not be able to

copy it to your Word file.) 1

2. PROCEDURE FOR CREATING THE
MICROSOFT WORD DOCUMENT
On the top of the page, add the following information:
Your Name, Course #-Section, Year, and Assignment: Week #

Example:
Angela Latham
CO 3403-04, Fall 2017
Journal Assignment: Striking Photograph Week 1

Place the .jpg image into the Microsoft Word document, if you
have not already done so. You may need to resize the image
to fit on the page. The image must be at least ¾ of the width
of the page. If your image is too small or looks like a “bunch of
blocks, pixilated”, you need to choose a larger image. A thin
border is acceptable around the image. Cite your references
in correct APA format, under the image. You will need to write
a paragraph describing the image and thinking through the
following
questions:
What drew you to the photograph?
Did you respond to the colors / tonality?
Did you like the scene/subject matter?

We will view and collect these files in class. Be prepared to talk about the imagery. Do not
PRINT your assignment –we will file-share it at the beginning of class.
2 Sample Journal Entries for Your Reference:
Student Name
CO 3403-04, Semester Year
Journal Assignment: Striking Photograph Week 1

Bisharat, A. (2015, January 13) Chasing History, Yosemite Climbers Sand and Superglue Their
Fingers. [National Geographic]. Retrieved from
http://news.nationalgeographic.com/news/2015/01/150113-climbing-yosemite-
capitan-dawn-wall-caldwell-jorgeson/

This is a Nat Geo story about Tommy Caldwell and Kevin Jorgeson taking care of their hands
as they make one of the most difficult climbs in the world –Dawn Wall on Yosemite National
Park’s El Capitan. This is a huge climb up a sheer, vertical rock face that is essentially all
fingers and toes. The article is about how they go about preparing and taking care of their
fingertips before and during the climb.

This image caught my attention not because it was the most graphic depiction of the life-
or-death situation they are putting themselves in, but rather because of the nonchalant
demeanor depicted in spite of the situation. This is Jorgeson checking to see how much skin
has grown back on his fingers overnight as he sits 1200ft up the side of the mountain.

The perspective makes this photo. Looking down to see his legs dangling over the edge of
nothingness beautifully captures the environment in which this event takes place. But, it’s not
about the mountain climb itself; it’s about taking care of their fingers, so it really works well for
the story.

Student Name
CO 3403-04, Semester Year
Journal Assignment: Striking Photograph Week 1

Mark, M. (2015, January 10) Boko Haram’s ‘deadliest massacre’: 2,000 feared dead in
Nigeria. [The Guardian]. Retrieved from https://www.theguardian.com/world/2015/
jan/09/boko-haram-deadliest-massacre-baga-nigeria

I was drawn to this image because of the complexity that it represents. Boko Haram, a
Nigerian Islamic terrorist organization carried out extremely deadly attacks on Wednesday,
January 7 2015, leaving at least 2,000 innocent people dead. This image seems to portray
the confusion and overall lack of direction that people in the country seem to have.
These children are caught struck in a normalized fear. Their bikes may be one of their only
possessions to which they can still hold dear. And then, in another sense, life just seems to go
on as if they are oblivious, or perhaps used to the mayhem. This image is interesting to me
because it is impossible to look at and not feel a sense of sympathy, and even respect for
these children who live through this.

co- A ignmCenoptmhotuongicraatiphnic
3403 the chair
sec- rubrics
04
1. Find a chair –ANY chair. It can be an interior or exterior chair.
You should be able to move the chair to different locations.
Using 24 consecutive exposures, explore the variety of ways
that your chair can be captured in camera. Shoot only 24
exposures on your memory card –do not delete any attempts.
It MUST be the same chair in each and every shot and the
chair must be a visible part of every image. No 2 shots may be
identical. (25 pts.)

2. All image adjustments should be done using “non-destructive”
editing techniques. Non-destructively cropped with minimum
Pixel Data at least 75% of uncropped file. Must contain both a
B/W Adjustment Layer and a Curve adjustment layer. (25 pts.)

3. All 24 photographs should be in color, resized correctly, and
labeled using the label menu explained on the assignment
sheet. (25 pts.)

4. Zip file and upload all 24 images to Blackboard along with the
Final Non destructive black and white photograph. (15 pts.)

5. All files should be Named Correctly, as explained on
assignment sheet. (10 pts.)

mon.-
wed.

10:00am
11:50am

co- A ignmCenoptmhotuongicraatiphnic
3403 the chair
sec- part 1
04 details
Review Chapter 1-3 as needed. Read Chapter 9: Seeing Like A Camera
mon.-
wed. The purpose of this assignment is to explore the variety of ways that
a singular object can be photographed.
10:00am
11:50am Find a chair –ANY chair. It can be an interior or exterior chair. You
should be able to move the chair to different locations. Using 24
consecutive exposures, explore the variety of ways that your chair
can be captured in camera. Think about the imposition of the
rectangular frame of the viewfinder as you include and exclude
objects from the frame while composing your shots.

Shoot only 24 exposures on your memory card –do not delete any
attempts. Feel free to take some experimental shots first. It MUST
be the same chair in each and every shot and the chair must be a
visible part of every image. No 2 shots may be identical.

Please remember to meter for all exposures. Recall what you have
learned about the aperture and the shutter of the camera from
Basic Camera Use. Think about how the aperture controls the
appearance of spatial depth and how the shutter controls the
appearance of motion in the photograph. Consider exploring how
different styles of light and shadow can affect the scene.

Objectives
•Explore composition and creativity
•Work within limitations
•Explore the frame of the photograph

Specifications
•dSLR camera at ISO 400 set at RAW+JPG, monochrome mode
•There will be a separate handout for the formatting of this project.

Helpful Tips & Things to Remember
•Keep Trying New Things!
•Remember to focus and meter EVERY shot.
•Try different apertures
•Can your chair move? Consider motion shots.
•Get further away - get close up...get higher -get lower...go to the
left-go to the right...
•Think about how you are representing the chair.

co- A ignmCenoptmhotuongicraatiphnic
3403 the chair
sec- part 1
04 formatting

1. There are 2 parts to formatting your Chair, Part I Formatting
Assignment. The first part is to copy & resize your images in a new
folder and the second part is to use the ratings system in Adobe
Bridge CC to organize your files into 4 groups [selected (5 stars),
review (3 stars), others (one star), rejected.

Copy & Resize Your Images
2. Using the Adobe Bridge Program (essentials module), navigate to
your Chair images and select all 24. You can use either the RAW or
.jpg version of the image.
3. With your images selected, go to the Tools - Photoshop - Image
Processor

2
3

mon.- 4 5
wed. 7
4. From the Image Processor
10:00am Dialog Box, in section #2, click 68
11:50am Select Folder.
5. The “Pick a destination
folder box will appear. Select
“Desktop on the left side of
the screen.
6. Then click New Folder at the
bottom left side of the screen.
7. The New Folder box will
appear, create a new folder
on your Desktop called
“LastName_Chair”. Click
Create.
8. Then Click“Open”

9. Then you will go back to the image processor box 10
and adjust the options in Sections 3 & 4 to match 9
the screen shot. (Save as JPEG, Quality 10, Convert
Profile to sRGB profile, resize to fit 2000 px for W&H, & 12
include ICC profile)

10. Click “Run” when finished to create your folder of
re-sized Chair images.

Rating Your Images
11. Navigate to your folder of re-sized images in the
Adobe Bridge Program (essentials module)

Using the Label menu –Attach the
following ratings to your images.
(Select an image, then go to the Label
menu)
5 Stars – Your favorite Chair image
3 Stars – 6-10 of your best images
1 Star – All other images
Reject –Up to 3 images can be
selected as rejects

12. Use the Filter options (right hand edge
of window) to see what happens when
you filter by different ratings.

11

co- A ignmCenoptmhotuongicraatiphnic
3403 the chair
sec- part 2
04 learning to edit in photoshop

mon.- The following sections in A Short Course in Digital Photography:
wed. 1e relate to this assignment:
Chapter 4: The Digital Darkroom.
10:00am Chapter 5: Image Editing, 87-89, 92-93,96, 98, 104, 106-7
11:50am
Objectives
You will use this assignment to make the shift from “in-camera”
editing to using “post-processing” methods of image editing.
You will learn how to use Adobe Photoshop to make simple but
professional adjustments such as cropping, tonal adjustments,
removal of small image flaws, and including written information
within your digital file. All image adjustments will be done using
“non-destructive” editing techniques.

Specifications
• The original digital negative MUST be from Chair, Part I
• 1 Digital File (.psd format) due – This will be file-shared at critique
time.

Editing Procedures
• Follow the basic instructions on your Photoshop Editing handout.
• Adjust your RAW image file in the Adobe Camera Raw (ACR)
Basic Tab for:

• Tone
• Temperature
• Exposure, if necessary
• Whites and Highlights, if necessary
• Blacks and Shadows, if necessary
• Clarity

• Also in ACR - Enable Lens Corrections (6th tab) or it
can be found by going to Filter > Lens Correction.
• Check ‘Remove Chromatic Aberration’ & ‘Enable
Profile Corrections’
• Select your Camera in the Lens Profile Section
• Import into Photoshop as a “Smart Object”
• Non-destructively cropped with Minimum Pixel
Data at least 75% of uncropped file
(ex: 12.1 MP camera with a 34.5 MB file can be
cropped down to a 26 MB file size)
• Must contain both a B/W Adjustment Layer and a
Curve adjustment layer
• In the “File Info” section – include your name and
the assignment Name (Fileà File Info)
• Save using the .psd (Photoshop) format ONLY
once you are working within Photoshop.
• The FINAL version of your files should be named:
firstnameLastnameASSIGNMENT.
(Ex: johnDoeChair.psd, - WITH NO SPACES)

co- A ignmCenoptmhotuongicraatiphnic
3403 technical portfolio
sec- details
04 rubrics

mon.- Aperture - Depth of Field -100
wed.
1. Explore various camera aperture adjustments and variables
10:00am such as the time of day or differing lighting conditions. (25 pts.)
11:50am
2. Be prepared to show your images on “Preview Day.” (25 pts.)
3. Upload two files, Depth of Field Long and Short. These files

should show your understanding of the range of critical focus
and your control of the appearance of space and depth
within an image. (35 pts.)
4. All images should be named with your first & last names,
ending in the appropriate label 15 pts.)

Shutter - Motion - 100

1. Explore various camera shutter speed adjustments and
variables such as the time of day or differing lighting
conditions. (25 pts.)

2. Be prepared to show your images on “Preview Day.” (25 pts.)
3. Upload three files, Motion Stop, Blur, and Pan. These files should

show your understanding of the ability to capture critical
moments of movement for the different motions. (35 pts.)
4. All images should be named with your first & last names,
ending in the appropriate label 15 pts.)

Natural Lighting - 100

1. Explore various camera shutter speed adjustments and
variables such as the time of day or differing lighting
conditions. (25 pts.)

2. Be prepared to show your images on “Preview Day.” (25 pts.)
3. Upload three files, Motion Stop, Blur, and Pan. These files should

show your understanding of the range of critical focus and
your control of the appearance of space and depth within an
image. (35 pts.)
4. All images should be named with your first & last names,
ending in the appropriate label 15 pts.)

“BEST” four images and Journal Proponent - 100

1. Choose the 4 “BEST” images (or 5 for extra credit) of your
choice, from any category and adjust them in ACR. (40 pts.)

2. Upload these files along with your journal proponent to
Blackboard (60 pts.)

co- A ignmCenoptmhotuongicraatiphnic
3403 Depth of Field
sec- Technical Portfolio
04
The following sections in A Short Course in Digital Photography, 1e relate to this
mon.- assignment: Pages: 22-23, 24-25, 40, 42-47.
wed. Also see Chapter 9: Seeing Like a Camera

10:00am Depth of Field is also described as the range of critical focus. This
11:50am range covers the zones in the negative, from near to far, that are in
sharp, or acceptable focus. The two types of depth of field
covered in this assignment are Long and Short.

Depth of Field can be controlled by the focal length of the lens,
camera distance from the subject, and by the aperture of a cam-
era. This assignment is restricted to depth of field controlled by
Aperture.

Two digital files are due for this assignment - one Long Depth of
Field and one Short Depth of Field.

Long Depth of Field (if you have a zoom lens - set “zoom” wide)
• Requires small aperture openings such as f/22or higher- Use your
minimum aperture!
• Detail must be present in all areas of the image. This includes
foreground, middle ground, and
background (all grounds required). Everything in the image must
be in sharp focus.
• Scene should start @ 5 feet from camera and extend no more
than 25 feet from the camera.
• Focus on middle ground object – good distance 8-12 feet from
camera.

Short Depth of Field (if you have a zoom lens - set “zoom” narrow)
• Requires large aperture openings - Use your maximum aperture!
• Only the subject/middle ground should be in sharp focus.
• You should see the transition into & out of the focal plane.
• You may wish to create a scene that is closer to the camera,
especially with a zoom lens or dSLR.
• Focus on middle ground object – good distance 2-4 feet from
camera.

Objectives
• To familiarize the student with the aperture of the camera, in-
cluding control of the appearance of space and depth within an
image.

Preview Days – Have Example (unedited) Digital Files Ready for Class Pre-Critique
October 4, 2017 (can show updates on later Preview dates as well)

Helpful Tips & Things to Remember
• Your camera has an optimum focusing range for objects between 5 –25 feet away
• Proper focus is essential, especially for short depth of field
• Proper exposure is crucial to producing a good image. Since your aperture is fixed for this
assignment, remember to adjust your shutter speed to achieve the correct exposure
• Avoid the obvious and the cliché – search for a new interpretation
• Get close enough so that your intended subject fills the viewfinder
• Think about your position (point of view) in relation to your subject
• Remember to focus your images & use the correct exposure ratio

co- A ignmCenoptmhotuongicraatiphnic
3403 technical portfolio
sec- details
04
The purpose of the technical portfolio is to explore various camera
mon.- adjustments (aperture and shutter) and variables such as the
wed. time of day or differing lighting conditions. From these exercises
the student should understand how and why to set the camera
10:00am controls and also how to interpret and utilize styles of available
11:50am light.

Aperture - Depth of Field
Depth of Field is also described as the range of critical focus. This
range covers the zones in the negative, from near to far, that are
in sharp, or acceptable focus. The two types of depth of field
covered in this part of the assignment are Long and Short.

Shutter - Motion
The shutter of the camera controls the amount of time light is
allowed to strike the surface of the film. Motion is controlled by the
speed of the shutter. The three types of motion covered in this part
of the assignment are Stop, Blur, and Pan.

Styles of Natural Lighting
The aperture and shutter speed are both very important
considerations when taking a photograph but it is also important
to understand the nature of different styles of light. The four types
of light covered in this part of the assignment are Direct, Indirect,
Diffused, and Silhouette.

All images should be named with your first & last names with the
appropriate label (below)
• Long Depth of Field = LDF
• Stop Motion = SM
• Direct Light = DL
• Short Depth of Field = SDF
• Blur Motion = BM • Indirect Light = IL
• Pan Motion = PM
• Diffused Light = EL
• Silhouette Light = SL

“Preview” Days
Check individual sheets for “Preview” days.

On “Preview” days be prepared to project and share at least one example image from
each required category.
IE: On the Depth of Field preview day – show at least one image for both Long and Short
Depth of Field.

JPGs from the camera are acceptable for “Preview Days” but examples must be imported
from RAW files by the final deadline.

“Preview Day” Images are non-binding. Please take the time to re-shoot any problem
images. The main focus of each “Preview Day” will be on a specific assignment (aperture,
shutter, light) but images from any section can be shown, including re-shot images.

Failure to present required images on preview days will cause a loss of 5 points per image off
of the final project grade.

Individual Preview Days listed on the assignment handouts.

Journal Proponent

Find published examples of photographs from each part of the assignment
• Depth of Field (Long & Short)
• Motion (Stop, Blur & Pan)
• Lighting (Direct, Indirect, Diffused, Silhouette)

Show and correctly identify all images.

Pick 1 image from each category and write a 1-2 paragraph critical analysis of the selected
images IN CORRECT APA FORMAT.

Be sure to mention how the camera controls and/or lighting styles affect the scene, the
mood and the “readability” of the image”.

co- A ignmCenoptmhotuongicraatiphnic
3403 Technical Portfolio
sec- Formatting
04
You must have 9 images and all images should be named with
mon.- your first & last names with the appropriate label (below):
wed.
• Long Depth of Field = LDF
10:00am • Short Depth of Field = SDF
11:50am • Stop Motion = SM
• Blur Motion = BM
• Pan Motion = PM
• Direct Light = DL
• Indirect Light = IL
• Diffused Light = EL
• Silhouette Light = SL

No jpg format files are acceptable for any part of this assignment.

Your 4 (or 5 for extra credit) “BEST” images (your choice, from any
category) should be:

• Adjusted in the Adobe Camera Raw (ACR) Basic Tab for:
o Tone
o Temperature
o Exposure, if necessary
o Whites and Highlights, if necessary
o Blacks and Shadows, if necessary
o Clarity

• Also in ACR - Enable Lens Corrections (6th tab)
o Check ‘Remove Chromatic Aberration’ & ‘Enable Profile
Corrections’
o Select your Camera in the Lens Profile Section

• Imported into Photoshop as a “Smart Object”
• Non-destructively cropped with Minimum Pixel Data at least 75%

of uncropped file
• Contain both a B/W Adjustment Layer and a Curve adjustment

layer
• Include pertinent File Info such as your name and the assignment.

Don’t forget to include information about the time of day and
lighting conditions, how you set up / decided on your scene and
why it fits the goals of the assignment.
• Saved as a .psd format file

Other images:
• Make sure in the Camera Raw Preferences (found in Bridge) –General that ‘Save images

settings is set for ‘Camera Raw database’.
• Open in ACR to and click “Convert to Grayscale” in the HSL/Grayscale tab (4th tab)
• Click done after adjusting, no further action is needed besides this and renaming the file.

co- A ignmCenoptmhotuongicraatiphnic
3403 Motion
sec- Technical Portfolio
04
The following sections in A Short Course in Digital Photography, 1st Edition
mon.- relates to this assignment: Pages 18-21, 24-5, 154-5
wed.
The shutter of the camera controls the amount of time light is
10:00am allowed to strike the surface of the film. Motion is controlled by the
11:50am speed of the shutter.

Three digital files are due for this assignment – One each of Stop
Motion, Blur Motion, & Pan Motion

MOTION STOP
Stop action is the freezing of the subject in motion at a transitional
point or critical moment.

• The action should be completely stopped.
• 1/125 will stop a walking person but not a speeding train.
• Faster shutter speeds will freeze more of the action.
• High speed action requires a higher shutter speed.

MOTION BLUR
Blur motion accentuates the motion by image repetition, or
blurring, on the film.

• Everything in the photograph should be sharp except for the
motion.
• 1/30 and slower shutter speeds require a tripod to avoid
camera movement.
• Only the subject should move, not the camera.
• Slower moving subjects will allow more motion to be recorded.

MOTION PAN
Pan motion occurs when the camera follows the arc of motion in
a parallel path. The shutteris released when the motion is directly
in front of the photographer. The camera should continue to
move after the shutter is released until the motion is completed.

• 1/30, 1/60 and 1/125 are the working shutter speeds for pan
motion.
• Match the speed of the motion EXACTLY with the speed of the
camera.
• Do not stop following the motion until it is completed.

Preview Days – Have Example (unedited) Digital Files Ready for Class Pre-Critique
October 11, 2017 (can show updates on later Preview dates as well)

Helpful Tips & Things to Remember
• Remember to focus your images & use the correct exposure ratio
• Get close enough so that your intended subject fills the viewfinder
• Think about your position (point of view) in relation to your subject
• Shoot lots of images
• Motion is not easy to compose. Anticipate - don’t react.
• Subjects moving towards the camera will give little or no indication of motion.
• Use a variety of shutter speeds for each Motion example.
• Camera Movement is NOT acceptable for this assignment.
• SUBJECTS NOT ALLOWED FOR STOP ACTION:
• Liquids
• Cars
• Flags
• Walking People

co- A ignmCenoptmhotuongicraatiphnic
3403 Natural Lighting
sec- Technical Portfolio
04
The following sections in A Short Course in Digital Photography, 1e relate to
mon.- this assignment: Pages: 64-71 (on exposing different types of light), Chapter 8:
wed. Lighting pages128-137. Also see Chapter 9: Seeing Like a Camera

10:00am It is important to understand how the direction and intensity of
11:50am light affects the subject. Photography is light - cameras capture
light and shadows and how they interact with objects. This
assignment deals with natural lighting; all situations can also be
reproduced in a lighting studio.

Four Main Lighting conditions:
- DIRECT
- INDIRECT (Also known as Directional / Diffused)
- DIFFUSED
- SILHOUETTE

Four digital files are due for this assignment – one each from the
four lighting conditions.

DIRECT LIGHT - A strong single light source that produces harsh
edges and high contrast.

A) Look for the following:
- One main light source
- Light striking the subject from one direction
- Dark shadows [little or no detail]
- High contrast
- Sharp edges between light and dark
B) Ideal time or situations:
- Direct sunlight entering a darkened room
- A single light source in a darkened room or at night
- Beam of light (i.e.: flashlight)
C) Things to watch out for:
- Subjects or surroundings that are too light
(light will bounce reducing contrast and filling in the shadows)
- Additional light sources
- Image will be dramatic
- Meter for the light on the subject
(the camera may be fooled by surrounding darkness)

INDIRECT LIGHT - Two or more lights used to illuminate a subject.
This type of image should have one main directional light with additional light added or
bounced into the shadows to round out and give form to the subject. Most outdoor
photographic shots are indirect light; the “bounce light” can be light colored objects or
buildings that soften the light. Shadows are not as well defined or distinct and may come
from different directions.

A) Look for the following:
- More than one main light
- Fill or bounce light to give shadow detail and roundness to the subject
- Shadow detail changes smoothly from light to dark
B) Ideal time or situations:
- Indoor and outdoor light together
- Most photographic shots are indirect lighting situations
- Subjects next to bright areas like walls, beaches, glass, etc that can bounce
light on to the subject.

DIFFUSED LIGHT - A soft even light that surrounds the subject and fills in most of the
shadows.
A) Look for the following:
- Little to no direction of the light source
- Shadow edges indistinct, if visible
- Light bounces around the subject
- Little to no shadows
B) Ideal time or situations:
- Overcast sky
- Fog, smog, smoke
- Pre-dawn /post-dusk
C) Things to watch out for:
- Can provide a romantic or dreamlike effect
- Contrast may need assistance
- Good lighting for children and buildings

SILHOUETTE LIGHTING - A backlit effect which when properly exposed will create a dark
(underexposed) foreground.
A) Look for the following:
- Expose properly for the incoming background light, not the subject
- Shadowed subject needs to be a rich black (not gray)
- Details should be seen in background light, but not in the main subject
- Contrast will be high
B) Ideal time or situations:
- Subject in front of bright light (i.e.: window, sky, other bright background object)
C) Things to watch out for:
- Proper exposure
- Accidental front lighting of the subject
- Composition - Think about the darkened form

Preview Days – Have Example (unedited) Digital Files Ready for Class Pre-Critique
October 12, 2017

co- A ignmCenoptmhotuongicraatiphnic
3403 Communication
sec- Portfolio
04 rubrics

mon.- Portfolio File - Feature -100
wed.
1. Explore and capture a feature photograph that tells its own
10:00am strong story and is able to stand alone without the use of
11:50am supporting text. (25 pts.)

2. Be prepared to show your images on “Preview Day.” (15 pts.)
3. Upload one file, Feature. This file should include all of the

elements listed on the assignment sheet in the File Info section.
(25 pts.)
4. All images should be named with your first & last names,
ending in the appropriate label (10 pts.)
5. Show and correctly identify two feature photographs
published on a newspaper’s site, and write a 1-2 paragraph
comparison focusing on the differences betweeen the two
imagses. (25 pts.)

Portfolio File - Illustration - 100

1. Explore and capture an editorial photograph that you
manipulate in some form or fashion that represents a strong
viewpoint, rather than a simple objective image. Image must
fall under the following issues of Poverty, Politics, Education,
Discrimination, Healthe, or Environment. (25 pts.)

2. Be prepared to show your images on “Preview Day.” (15pts.)
3. Upload one file, Illustration/editorial. This file should include all

of the elements listed on the assignment sheet in the File Info
section. (25 pts.)
4. All images should be named with your first & last names,
ending in the appropriate label (10 pts.)
5. Show and correctly identify an editorial/illustration photograph
and write a 1-2 paragraph evaluating the effectiveness of the
image with your viewpoint. 25 pts.)

co- A ignmCenoptmhotuongicraatiphnic
3403 Communication
sec- Portfolio
04
The Communication Portfolio will cover the areas of feature
mon.- photography and photographic illustration.
wed. NOTE: The Photographic Essay (Final Project) could be thought
of as an extension of the Communication Portfolio, but as a final
10:00am project it is not included in the portfolio.
11:50am
Feature photographs are photographs that do not have any
direct “hard news” value but tend to convey such things as
human-interest stories, everyday events, the changing of seasons
or holidays.

Editorial images are not bound to strict objectivity and should
espouse a strong viewpoint or bias.

Photographic Illustrations are images that have been set-up
or manipulated (altered or collaged) or have text overlays.
Photographic Illustrations can be used to create editorial-style
images, but are not a required element of an editorial image. The
2 concepts can work well together.

Sample Files for Preview Days:
On “Preview” days be prepared to project and share at least one
example image from each required category.

All images must be imported from RAW files (preview day and final
images).

“Preview Day” Images are non-binding. Please take the time to re-
shoot any problem images.

(DO NOT DELETE OR PERMANENTLY ALTER YOUR ORIGINAL DIGITAL
NEGATIVES).

Portfolio File–Feature (1 Image due): Preview Day - November 6th
•Opened with Adobe Camera RAW (ACR) & initially adjusted with
the available sliders in ACR
•Non-destructively cropped
•Contain a Curve adjustment layer with adjustments in all
necessary channels
•Include required File Info as listed on individual assignment sheet.
•Label as YournameFP in the file name and save as a .psd file.

Portfolio File–Photo Illustration / “Issue Ad”(1 Image due): Preview Day - November 13th
•Image should follow the basic editing guidelines when appropriate for initial density and
contrast adjustments, basic cropping,and may be either B/W or color.
•Include all layers (text and/or image)
•Include required File Info as listed on individual assignment sheet.
•Label as YourNameIE and save as a .psd file.

Due Date –Final Edited Files November 15th, 6 pm

Journal Proponent

FEATURE:
Show and correctly identify 2 Feature Photographs published on a newspaper’s website
either from a Local Newspaper, a Regional Newspaper, or a National Newspaper. You are
not constrained to Starkville and the South for your local and regional newspapers. Write 1-2
paragraphs in a ‘compare and contrast’ style focusing the differences between the
images.

PHOTO ILLUSTRATION:
Find an editorial photograph. It does not necessarily have to be a photo illustration.
Write 1-2 paragraphs evaluating the effectiveness of the image. Did it change your
viewpoint? Why or why not

co- A ignmCenoptmhotuongicraatiphnic
3403 Communication
sec- Portfolio
04 Feature Photograph

mon.- Features are stories that generally do not have any “news” value.
wed. A Feature Photograph maintains an element of human interest
that is not dependent upon the immediacy of the event. They
10:00am often record commonplace moments in everyday life that strike
11:50am a chord with the viewer. Features also can develop as a sideline
to a “news” story, add an element of humanity to a tragic event,
or even commemorate a normal occurrence like the changing of
seasons. A Feature Photographshould tell its own strong story and
be able to stand-alone without the use of supporting text.

This photograph must be shot and edited as a full color image.

Objectives
You should learn how to identify a ‘feature story’ & capture a
compelling image of this story. Learning how to effectively crop
within a given aspect ratio and how working with color differs
from working with B/W are also important project goals.

Specifications for Portfolio Image(s)
•dSLR camera at ISO 400 set at RAW+JPG
•Follow the basic instructions on your Scanning and Photoshop
Editing handouts; refer to the Color Editing handout for differences
in editing in color.
•Image can be either horizontal or vertical. Shoot your intended
scene using both orientations
•Required Aspect Ratio will be randomly assigned after Preview
Days
•Minimum Pixel Data: 75% of RAW image size
•Caption Info should be placed into the “File Info” section

•Your Name
•5-7 word descriptive Title for your image (think caption or

cutline)
•Location of shot
•Date image was taken
•3-4 complete sentences describing your story

Preview Day - November 6th

Due Date –Final Edited Files November 15th, 6 pm

Helpful Tips & Things to Remember
•Make sure WB (White Balance) is set to “Auto”.
•Follow the Color Editing handout to complete your editing steps. The more time you spend
in Bridge / Adobe Camera Raw adjusting for a neutral image, the less time you will need to
spend in Photoshop. Careful use of the sliders in Adobe Camera Raw should eliminate most
colorcasts and greatly simplify your curve adjustments.
•Crop with excitement – strive for dynamic compositions. Consider diagonals, odd number
groupings, and directional movements to add impact.
•Think about what you have already learned in terms of depth of field & motion. Does your
image contain the right range of sharpness? If there is motion, is it captured in a way as to
enhance your image? Build on your previous skills.
•The aspect ratio of your file will be different than the 2x3 aspect ratio of your negative / raw
file. Leave small amounts of additional space on the sides (for a horizontal image) or the top
& bottom (vertical images) when composing your negatives / raw files.

co- A ignmCenoptmhotuongicraatiphnic
3403 Communication
sec- Portfolio
04 Photo Illustration/Issue Ad
(Editorial)
mon.-
wed. Issue Ad (Editorial) images represent a strong viewpoint, rather
than a simple objective image.
10:00am
11:50am Photo Illustration images allow the photographer to create or “set
-up” a scenario. They also allow for manipulation of the image(s)
and for multiple image to be ‘collaged’ together. A representation
of reality is not necessarily important for this type of image –the
CONCEPT behind the image should be the driving force.

While one would not have to use photo illustration to create a
good editorial image, or vice-versa, they can be very powerful
concepts when used together.

You must create an editorial image that utilizes the principles of
photographic illustration.

Objectives
•To create a manipulated image choose from the following issues
for your image:
POVERTY
POLITICS
EDUCATION
DISCRIMINATION
HEALTH
ENVIRONMENT
•Consider an issue or a viewpoint that you do NOT feel strongly
about –it can help you remain objective in evaluating the
effectiveness of the imagery.
•Feel free to experiment with humorous, serious, or sarcastic
imagery. Be CREATIVE & don’t rely on clichés.
•You may rely on either ‘found’ or set-up imagery for this
assignment but need to have some
element of manipulation.

Specifications for Portfolio Image(s)
•dSLR camera at ISO 400 set at RAW+JPG
•Minimum Pixel Data: 75% of RAW image size
•Any aspect ratio (H:V) is OK –pick the appropriate one for your image.
•Can be color or B/W or a mix of the two
•Caption Info should be placed into the “File Info” section
•Your Name
•A 5-7 sentence statement specifying your particular issue and why your image supports
this viewpoint.

Helpful Tips & Things to Remember
•Be objective and try to manipulate the viewer towards your side of the argument.
•Don’t let your personal beliefs cloud the issues.
•Experiment. I may know how to make an idea work –just ASK

A ignmCenoptmhotuongicraatiphnic
The Photo Essay
rubrics

co- 1. Explore the creation of a Photo essay, which is always a
3403 narrative. Create either a chronological or a thematic photo
sec- story that can stand alone, without the use of text. (25 pts.)
04
2. Convey your story or concept in a cohesive fashion while
mon.- showcasing your skills as a photographer and a storyteller.
wed. Each image should convey one of the previous types of
photo’s that you have learned.(15 pts.)
10:00am
11:50am 3. Be prepared to show your images on “Preview Day.” (10 pts.)
4. Upload at least eight .psd files. You should follow all of the

information on the assignment sheet and the file should include
all of the elements listed on the assignment sheet in the File Info
section. (20 pts.)
5. All images should be named with your first & last names,
ending in the appropriate label, PE (ex: johnDoePE1.psd,
johnDoePE2.psd, etc.) (10 pts.)
6. Show and correctly identify a photographic essay. It may be
published on a magazine site or news site. Write at least 1
paragraph evaluating the story-telling aspects of the essay
and the flow of imagery. Consider whether there are any
missing images or any images that should be eliminated. Don’t
forget to use APA format.(20 pts.)