YOUR PHOTOGRAPHY BUSINESS POWERPOINT AND BUSINESS CARD (worth 3 assignment grades)
You will start a (pretend) photography business either by yourself or in partnership with one of your peer students. Create a Powerpoint Presentation to present to the class and include the items on the list below:
* Business Name
* Your name as sole owner or names of people in the partnership
* The type of photography you specialize in, and the types of jobs you intend to get.
* Samples of work you would like to produce for your clients.
* What type of equipment will you be using and how much will you be spending on equipment? (Go to B&H.com to look for equipment)
* How much will you charge? Will you offer packages?
* Your (pretend) web site address
* Who are your inspirations?
* Where will you conduct your business? (which state will you live, will you work out of your home or rent office space in which location)
* Branding: Your business card (Make your business card a 3.5 x 2.5 document in Photoshop)
* Marketing: Include a slide about how are you going to advertise and get jobs in your field?
* Market Research: How much money you would like to make in your first year of business, and how much you foresee making in 5 years, and also in 10 years.
*ASSIGNMENT PRESENTATIONS BEGIN THURSDAY, MARCH 8
Assignments due Friday, March 2
1. PAINTING WITH LIGHT
-Go to a dark place to shoot for this assignment (back studio). Put the camera securely on a tripod and put your shutter speed at 20 to 30 sec (not 20th of a sec…but 20 full seconds). You must put the camera on self timer to avoid camera shake. Shoot on manual and try your fstop at 8 or 11. ISO at 200.
-Pre focus on Manual focus mode, because the camera will not in autofocus!
-Wave finger lights in front of the frame during the exposure and check out the results!
-Post 1 to 3 Painting with Light photos you took and edited on your blog. Critique: Find an amazing painting with light photo on the Internet and write a paragraph about how you think the photographer achieved the result and why you think it is so eye catching.
2. YOUR FAVORITE TEACHER
Use bounced external flashoff camera and sync cord, to take some nice portraits of your favorite teacher. Edit and post your best portrait and write a 3 paragraph reflection in academic language explaining why you like and admire this teacher. Give details, reasons and examples as to why you chose this teacher. Samples below:
3. BODY, SHAPE, FORM
Photograph a part of the body, or something, which shows shape and form. Think about getting great QUALITY OF LIGHT and make your composition a strong one. In the caption section of your image write 10 words to describe your final image.
4. SPORTS PHOTOGRAPHY FROM THE OLYMPICS CRITIQUE
Look online for photographs from this years winter Olympics. Find a few photos (3-5), which you think are absolutely amazing. Post them to your blog and explain under each photo how you think the photographer shot the image technically. Also talk about the composition and why the image is so successful.
NEW ASSIGNMENTS DUE TUESDAY, FEBRUARY 20:
1. MAGAZINE COVER
Look at magazine covers online and post 3-5 covers you like and explain why these covers attracted your eye. Then create a magazine cover (9×12 @ 300 res)using your own photographic image. Include the name of the magazine and a list of articles, which would be within the magazine. Make it look as authentic as possible.
2. READ AND WRITE: FLASH BASICS
Read this online article and on your blog write three paragraphs explaining the main points in the article and at least five things you learned from reading it.
3. 3-5 ON LOCATION PORTRAITS WITH BOUNCED FLASH
Use the Canon digital camera and an external bounced flash to photograph portraits on location. Set your camera on Manual, Auto White Balance, ISO 400, F8 @ 60th of a second shutter speed. Photograph at least 10 portraits and post your top 3-5 edited bounced flash portraits to your blog. As a writing critique answer the following questions on your blog in a separate post. Samples below:
-When would you use external flash?
-What does flash synchronization mean?
-What does ETTL mean?
-What will happen when you shoot faster than the camera sync speed?
-Why do photographers bounce the flash and use a diffuser?
– What is a slave?
-What should you do if your image comes out too dark or too light?
4. TAKE A VACATION
In this assignment you are going to go on a virtual vacation. Find a location online where you would like to go and digitally put yourself into that location. Make sure to match lighting and color balance to make it look realistic as possible. You must add 3 props into the scene (sunglasses, shopping bags, friends to go with you, etc…) Make your new document for all the elements in the image a 12×8 150 resolution. include 1-3 sentences under your photo when you post it to explain why you would like to go on this vacation.
NEW ASSIGNMENTS DUE MONDAY, FEBRUARY 5
1. READ AND WRITE: INTRODUCTION TO USING STROBES
Read this entire article on beginning strobe use and then write a three paragraph reflection on your blog detailing what the article is about and the most important things you got out of reading it.
2. STUDIO PORTRAITS WITH STROBES AND GELS
Photograph 25 portraits in the studio using the strobes and colored gels in the background. Edit your portraits in Lightroom and make cosmetic retouches in Photoshop. Post 9-12 final portraits on your blog. Writing critique: Find a portrait online that was shot with studio strobe lighting and write 20 sentences to describe the subject and their personality based on the photographers version of them. Evaluate the lighting used in the photograph and how you think the lights were arranged to get the results. Samples below:
3. HDR PHOTOGRAPHY
-Go online and research the meaning of HDR photography. Create a blogpost explaining what the term HDR in photography means and ways to achieve successful results.
–Look online for an HDR image and then make a blog post about one image that impresses you and why? Include the image in your post.
-Photograph 5 different exposures of a landscape (on Manual) for this assignment. One at the perfect exposure, plus one and two stops underexposed and one and two stops overexposed. USE A TRIPOD for this!
-Save images in a folder and open Photoshop>File>Automate>Merge to HDR Pro
-Select your five landscape images and press ok. Photoshop will compile your images into one HDR image.
-You will probably need to do more adjustments to make it more vibrant and saturated. You should bring in cool clouds from the Internet to blend into your sky. Post to blog with a list of the 5 exposures you used to create the image. (MASIL) Samples below:
NEW ASSIGNMENTS AFTER BREAK: DUE FRIDAY, JAN 20, 2018
1. 50 PHOTOS EDITED IN LIGHTROOM
Take 50 different photos of the same subject. Vary the lighting and composition of your photographs. Edit your photographs in Lightroom and post the BEST 20-30 photos to your blog as a gallery.
2. 5 COMMENTS ON THE BLOG HIGHLIGHTS OF SEMESTER 1 POST>
-3 COMPLETE SENTENCES PER COMMENT
3. TEDTALK: HOW PHOTOGRAPHY CONNECTS US
Watch this Tedtalk on how photography connects us and on your blog make a post summarizing, critiquing, judging and evaluating what you got out of watching the video. Have at least 3 paragraphs
3. AM I TALKING TO MYSELF
Photograph several images of yourself or someone else in the same location, and put them all together in Photoshop to make it look as if you (or they) are relating to themselves in some way. Use one of the photos as the base image, and move the other subjects in the base image to create a unique photo for this Am I Talking To Myself assignment. Writing Critique: Make a blog post called My Inspiration and list 15-20 things, which inspire your creativity. Sample student work below:
ASSIGNMENTS DUE TUESDAY, DECEMBER 5
1. Your Portfolio
Put your best work together in a Portfolio. Use Powerpoint to present your portfolio to the class. Your portfolio should consist of (at least) 12 slides. 1 Intro slide with your name on it and 10 slides of your best work to date (1 image per slide). The last slide should contain a quote that is meaningful to you.Put in my flash drive or email me at firstname.lastname@example.org, by Tuesday December 5. Also put your portfolio images on your blog as a gallery.
2. Self Portrait with Text
Take a tripod and DSLR camera on self-timer mode and photograph a few self portraits (photographs you take of yourself). Edit your favorite photo in Photoshop and include some text within the image to create a mixed media selfie. In the caption section when you post include the MASIL and for a critique make a list of 25 words or phrases to describe yourself. Student samples below:
Photographer Research Project (due Tuesday, November 28)
You will produce and present a PowerPoint Slide Show about a professional and influential photographer of your choice. The project is to have 15-20 slides and include the information below, and at least 10 photographs. You can choose from the enclosed list or pick a significant photographer of your choice. Questions to answer when doing photographer research project are below. Email your presentation to email@example.com or put in my flashdrive by Thursday, November 16.
- What is the photographer’s real name and year he or she was born? Is he/she still alive?
- What is their style of photography (ex: photojournalism, editorial, documentary, advertising, portraits, magazine, sports, war)?
- Are there any special photography techniques this photographer uses in his/her work? (Think about composition, depth of field, history…)
- Who does the photographer work for?
- What type of cameras and lens does this photographer work with, and why?
- What type of lighting does this photographer primarily use and why?
- Who are some of your photographer’s early influences?
- Are there any interesting stories about this photographer or his/her work?
- What do you like (or not like) about their work, and why did you select this photographer?
Robert Mapplethorpe – flowers, portraits, nudes *
Annie Leibovitz – celebrity portraits *
Danny Clinch – musicians *
Edward Weston – black and white nudes,landscapes
Ansel Adams – black and white landscape
Cindy Sherman – self portraits *
Diane Arbus – strange and different portraits *
David Lachappelle – unique portraits *
Imogen Cunningham – black and white
Eliot Porter – color landscape
Alfred Eisenstadt – candid photojournalism
Linda McCartney – musicians in the 60’s
Herb Ritts – celebrity portraits *
Henry Cartier- Bresson -candid street, the decisive moment
Andy Warhol – bizarre
Robert Frank -street
Mary Ellen Mark – portraits *
Eddie Adams – war, photojournalism
Robert Capa – war
Paul Strand – black and white
Lewis Hind – child labor
James Nachtwey – war *
Irving Penn – fashion, still lifes *
Richard Avedon – portraits
Margaret Bourke White – early photojournalism
Lee Friedlander – black and white candid
Harold Edgerton – motion
Sebastiao Salgado – photojournalism
Weegee – street photojournalism
Mark Seliger – celebrity portraits *
Jerry Uelsmann – photo montage *
Dorothea Lange – documentary
Anne Geddes – children
Kim Anderson – children
Nigel Barker- Fashion
William Wegman – dogs
Man Ray – rayograms, fashion, portraits in the 20
Arnold Newman – environmental portraits *
Steve McCurry – National Geographic portraits *
Danny Lyon – street and documentary
Brad Mangin – sports
Neil Leifer – sports
New Assignments due Thursday November 9
1. Candid Moments with Captions (3-5 Photos with captions for each)
Photograph candid moments and edit your images in Photoshop. In the caption section of each photo you post write a caption including who, what , where and why. include your technical info for each photo (MASIL) For a critique look at the work of photographer Henri Cartier Bresson ,who captured the “decisive moment”. On your blog post 2-3 of his photographs and write 10 sentences about his work and your opinion of his timing, composition and ability to capture the perfect moment. Student Samples below:
2. Define these 35 words in a word document and then copy and paste your definitions in a blog post titled Photography Definitions:
pixels, image resolution, megabyte, megapixel, gigabyte, jpeg, raw, tiff, png, white balance, histogram, aperture, shutter speed, depth of field, aperture priority, shutter priority, bitmap, exposure, watermarking, optical zoom, digital zoom, bracketing, light meter, image stabilization, noise, lag time, hot shoe, fisheye, macro, telephoto, wide angle, DSLR, dynamic range, exposure compensation
3. Mirror Imagery
Photograph an interesting photo with lots of lines. Put the edited photo in a new document and make a copy of the image to flip to make mirror imagery. Either 2 or 4 images would work for the mirror image. Post to blog. List 10 words to describe your photograph.
NEW ASSIGNMENTS DUE MONDAY, NOVEMBER 6
1. PORTRAIT LIGHTING READ AND WRITE
Read this link about Portrait Lighting and on your blog write a synopsis of the key facts you learned when you read the article in 2-3 paragraphs.
2. WHITE BALANCE READ AND WRITE
Read this link on white balance and on your blog write a one paragraph synopsis of what you learned from reading the article. Under that list all the white balance settings and at least one sentence about each.
3. STUDIO PORTRAITS
Use the studio backdrop (white or black) to photograph PORTRAITS of classmates.
Use the tungsten “hot lights” to light the portraits
Make sure to put your white balance on TUNGSTEN and shoot at ISO 400 or 800. Go right up to the subject and meter them on MANUAL.
Take at least 12 photographs and edit them in PS. Post anywhere between 6 and 12 portraits as either a gallery or individually.. Include technical info: MASIL
Critique: Find a studio portrait online and write a list of 25 words you would hashtag the photo if you posted it on Instagram. Include the photographers name if possible.
In a separate blog post, answer these questions: 1. What is the purpose of the main light? 2. What is the purpose of the fill light? 3. List the lighting patterns.
4. ALPHABET PHOTOGRAPHY
-Look for images which represent letters and create a word in photographs
-Edit your photos in PS and then make a new document to put the word in.
-Make your document 16×8 2oo resolution and fit your images in to make the word. If you need more space go to Image>Adjust>Canvas Size and resize bigger.
-Save as a jpeg and post to your blog.
-Critique: List 5 valuable things you learned in Photo class so far this year.
ASSIGNMENTS DUE FRIDAY, OCTOBER 20
1. COMMENTS ON THE BLOG
Make 5comments on the homepage of the blog. Be more specific with your comments and tell what it is you like or do not like about the work. Be constructive with your criticism.
2. WARHOL / POP ART
-For your Pop Art assignment you should photograph an object, which is POPULAR IN THE CULTURE TODAY.
-Make 4 copies of the photo you chose, 4×6 or 6×4 (200 res) each, labeling them Warhol 1, Warhol 2 and so on… (you can change the size in PS in IMAGE>IMAGE SIZE (6×4.5 or 4.5×6 is ok too. Just make your big document 12×9 or 9×12 if you do that)
-Work on each picture separately, experimenting with filters, gradient maps, colors, patterns, and more….make sure there is contrast between the subject and the background!
-When you complete the 4 individual photos, merge the layers in each.
-Open a new document in Photoshop, 8×12 or 12×8 (200res)…or 9×12 or 12×9 if your individual shots are 4.5×6 or 6×4.5
-Move the four individual photos into the new document.
-Save as a jpeg and post with critique.
-Critique: Research and answer these questions about an interesting pop artist. Post one of his or her works with your answers to the following questions.
- What is Pop Art?
- Why is this artist’s work considered Pop Art?
- Describe some of this artists work.
- Why did you pick this artist and why do you like his/her work?
3. WHAT IS YOUR COLOR
Create a Photoshop Collage 12×9 or 9×12 300 resolution representing your favorite color. Include a photo of yourself, the color you select and some writing about why this is YOUR color. Perhaps add a tint of your color. Post to blog.
4. JPEG VS. RAW READ AND WRITE
Research what jpeg and raw file formats are, and the differences between them. Write a three paragraph reflection comparing and contrasting them both on your blog.
ASSIGNMENTS DUE TUESDAY OCT 10
1. CAPTURING ACTION AND MOTION IN PHOTOGRAPHY
-Read these online article about capturing action and motion photography and write one or two paragraphs stating what you learned about action and motion photography techniques..
-Take photos outside that capture ACTION SHARP. Try to “capture the moment”. Shoot at the shutter priority mode and auto focus AI SERVO . Make sure your shutter speed is above 125th of a second. ISO 400 Take several photos and post your favorite 2 action shots, edited in Photoshop.
-Take action photos inside trying to capture MOTION BLUR. Try to “capture the moment”. Shoot at the shutter priority mode and auto focus AI SERVO mode. Make sure your shutter speed is 60th or below for more blur. Use a tripod to make sure stationary objects are not blurred. Take several photos and post your favorite 2 shots , edited in Photoshop.
-Include technical info on all photos: MASIL
-Find 2 photos online, one showing action sharp and another showing motion blur. Guess what shutter speeds, f stops, and lens were used. Post as critique.
2. POETRY AND YOUR PHOTOGRAPHY
1.Take a new photo for this assignment or use one of your existing edited photos.
2.Make a new document 11×14 or 14×11 @ 300 res
3.Move your photo into your new document and size to fit.
4.Add a quote, poetry, song lyrics or your own words to your edited image. Make sure to put a layer style with your text.
5.Post to your blog
ASSIGNMENTS DUE MONDAY, OCTOBER 2
1. DEPTH OF FIELD
-Read these two links and write two paragraphs explaining in your own words what depth of field is in photography and the ways to control depth of field when shooting. Call this blogpost: Depth of Field Explained.
– Go outside and take two photographs of the same subject, trying to get two different depth of fields. Remember to first format the memory card, set WB to auto and ISO to 400, and be on Manual focusing. You will set the camera mode to AV (aperture priority). Make sure to focus on the same subject for both shots you take.
-In Photo #1 You will get a shallow depth of field. Zoom out to the longest focal length of the lens which is 55mm. Set the aperture on f5.6 (the widest aperture at 55mm) and take note of what the camera sets the shutter speed at. Make sure it is not below 60th of a second. Get in good and close to your subject
-In Photo #2 You will get a good depth of field. Put your lens at 18mm ( which is the widest lens mm on your lens). Set your aperture at f16, and take note of what the camera sets the shutter speed at. Make sure it is not below 60th of a second, or open up the aperture to f11. Stay a bit further back to get a better depth of field.
-Repeat the depth of field activity 2-3 times to make sure you get it right.
-In the lab, edit your photos for maximum impact and post each one (good and shallow depth of field) to your blog(large photo size). Include the technical info in the caption section of each MASIL (Mode, Aperture, Shutter Speed, ISO, Lens mm)
– For the critique for this assignment you are to find two photos online- one which shows a good depth of field and one which shows a shallow depth of field. In the caption section when you post them guess at what you think the aperture, shutter speed and lens mm was for each photo.
One of the most difficult things in photography is to stay motivated and inspired.
I know that I have hit “photographer’s block” many times in my career.
Sometimes it is good to try out different photography assignments— to push yourself outside of your comfort zone, try a new approach, and to take action. Simply sitting on your bum and thinking about photography won’t improve your photography. You can only re-spark your passion for photography by making photos, or doing something hands-on.
Here are a list of photographic assignments which I hope help you. Feel free to skip around, and choose the assignments which appeal to you:
1. 5 yes, 5 no
If you’re interested in street photography, often the fear of rejection is worse than the rejection itself.
If you want a simple assignment to build your confidence, try the “5 yes, 5 no” challenge.
The concept is simple: approach a bunch of strangers and ask for permission to make their portrait. You have to keep asking until you get 5 people to say “yes” and 5 people to say “no.”
You will discover it is harder to get a “no” than a “yes”.
If you’ve got all 5 “yes’s” but not 5 “no’s” — you need to purposefully go out and look for the scariest people you think will say “no.”
The purpose of this assignment is to help you face rejection. In life, photography, and everything else — we are slaves of fear. This will help you face your fear head-on.
2. “10 no”
If you’re really really afraid of getting rejected— try out this assignment (a variation of the 5 yes/5 no assignment).
Go out and try to get 10 people to reject having their photos as quickly as possible.
If you go out and try to find people to say “yes” to getting their portrait shot— you might become paralyzed. Instead, only approach people who you think look unfriendly and will say “no.”
Funny story — you will find that often the scariest/meanest looking people are the nicest (and vice-versa).
3. Exposure compensation
I am a big proponent of shooting in “P” (program mode). Essentially the camera chooses the aperture/shutter speed for you, as well as the exposure.
If you want to get better exposures in your photos (in P mode) — try experimenting with exposure-compensation.
Ask a person to stand in the bright sun, and take a series of different photos (with different exposure compensations):
Then look at your LCD screen, and look at the exposure of each photo. Then look at the real world — how does your exposure-compensations change how your photos end up looking?
Don’t get too nerdy with this — figure out what exposure-compensations work well for your camera, in different settings. Each camera thinks differently and has different exposure compensation modes. So treat this assignment as a way for you to better understand the light, and how your camera thinks.
If it is really bright outside, I generally photograph at -1 exposure-compensation, to make the skin tones of my subject look more natural, and also to darken the shadows. I love the dramatic look this gives my images.
Furthermore, if you’re shooting in the shade, you will often need to shoot +1 exposure-compensation to light your scene better.
But once again — experiment with different exposure-compensations, and figure out what works best for you.
4. 1,000 photos in a day
If you’re a photographer who only takes 1-2 photos of a scene and tends to run away, try this assignment.
The assignment: take 1,000 photos in a single day.
The purpose of this assignment is for you to learn how to “work the scene”. If you see a good scene, try to take at least 10 photos of each scene. This will allow you to capture better perspectives, angles, and moments.
I don’t want you to always take 1,000 photos everyday. But this might help you break through “photographer’s block.”
5. Eye contact/no eye contact
When I’m shooting street photography, I’m not sure whether a photograph with eye contact or without eye contact will be better.
Solution? Try to get both.
If I’m shooting candidly, I will get close to my subject, and take multiple photos, until they notice my presence. Then I wait for them to notice me, and then I take a photograph when they make contact.
Then when I go home, I have the decision of choosing between two version of a photo: one with eye contact, and one without. Sometimes eye contact works better, sometimes it doesn’t.
There is a saying that “eyes are the windows to the soul.” I generally find photos with eye-contact to be more compelling, soulful, and intense for the viewer.
However at the same time, sometimes having photos with the subject looking away from the camera gives you a more moody feel.
I often like to study famous (painted) portraits of people in the past for inspiration. Look at the paintings with eye contact, and without.
6. Ask your subject to look up, down, left, right
If you approach a stranger, and ask permission to make their portrait (or if you’re photographing a model) — it is hard to direct your subject.
One tip I learned: ask them to look in different directions.
For example, ask your model to look into the camera, and don’t smile. Then ask them to look up, down, left, and right.
Often people have a “better side.” Not only that, but by having your subject look up and down, you change the mood of the photo.
When your subject is looking up, they look more confident, encouraged, and powerful.
When your subject is looking down, they look more downtrodden, depressed, and negative.
Another tip: ask your subject to look at your hand while you’re photographing them. Then move your hand, and see how their eyes track your hand.
Changing the eye and head position of your subject will change the emotion of the photo. Experiment with different head positions with your subject, and you will have more photos to choose from.
7. Only photograph things on the ground
When it comes to photography, we often just photograph what is in front of us, at eye-level.
Yet we never look down, and we never loop up.
As a simple assignment, do a photo project of just photographing stuff on the ground. You will find lots of interesting subject-matter if you look closely enough.
The world is a rich and beautiful place to take photos. Sometimes we complain that there is “nothing to photograph.” Yet in reality — we’re just not looking hard enough.
Change your perspective and view. Don’t just look ahead. Look down. Look up. Look into cracks in-between walls. Be curious, and change your perspective.
8. Take at least 10 photos of each scene
I mentioned this tip a bit earlier — but the mistake we make as photographers is that we’re easily satisfied with 1-2 photos, and we move on.
The problem with only taking 1-2 photos (and then checking our LCD screen) — we don’t push ourselves. When in doubt, try to photograph 25% more than you think you need to photograph.
This will force you to be more creative. You will try to photograph your scene from different distances (close, far) and from different angles (left, middle, right). You can also switch up your positioning (crouching, standing, or tippy-toe).
It is rare to see a good photo-moment. Don’t settle with just 1-2 photos. “Work the scene” — and try to take at least 10 photos of each scene. Then you will push your creative boundaries, and be more likely to make a good photo.
9. Limit yourself to only 36 photos in a day
For this assignment, you’re only allowed to take 36 photos in a day (same amount of photos in a roll of film).
This exercise will help you learn restraint. It will balance out some of the other assignments which encourage you to take more.
If you only had 36 photos you could take in a day, how much more selective would you be with your shooting? What superfluous photos would you not shoot?
I also find that by taking fewer photos, I appreciate each scene more.
You can do this assignment on a digital camera, or on a film camera.
10. Shoot 1 street corner for an hour
In street photography, we’re impatient. Rather than sticking in one good area and waiting for our subjects to come to us, we run around (often wasting our energy) to just find a few good photos.
The solution: find an interesting street corner, don’t move, and photograph it for an hour.
The purpose of this assignment is to realize that it can be more effective to find a good scene, background, or area — and wait for your subjects to come to you.
Not only that, but if you stay put in one area— you will get to know the area better. You will observe the flow of subjects, and get a feel of a place better. Not only that, but you will be more “invisible” in the scene— people will ignore you.
11. Delete all the photos from your social media account
An occasional purge is good for our physical, mental, and spiritual health.
Try to do this every once in a while: delete all the photos from your social media, and start from scratch.
Don’t delete the original photos. Keep them on your hard drive, print them out, or archive them.
However if you have a lot of photos cluttering your social media account, make a practice of doing a 100% purge. Delete all the photos (or mark them private), and then re-start from scratch.
Often we let our past work prevent ourselves from innovating and creating new future work.
Purge your past. And start refreshed.
12. Go a month without using social media
Often as photographers we fall victim to the “social media” treadmill — of always uploading a photo everyday, just to feel relevant. We want it for the likes, the comments, the new followers. Yet we get addicted to social media like heroin. Without our daily “hit” of external affirmation — we feel our photography is pointless.
Yet photography should be a personal pursuit. Why care about what others think about your photos? How do you feel about your own photos?
Uninstall all the social media apps from your phone (don’t worry you can re-install them after a month). Don’t upload any photos, look at anyone else’s photos, and try your best not to cheat.
By “fasting” from social media from a month — you will get a better sense of why you make photos. And I can guarantee you, you will feel less stressed and anxious to keep up with the “social media rat race.”
13. Only shoot black and white for a year
We don’t see the world in monochrome. Black and white is an abstraction in the world. That is why it looks more “artistic” to the average person. It is novel, unique, and different.
However it takes a while for you to train your eye to see the world in monochrome.
Many photographers shoot black and white their entire life, and still never master it. I’ve also found that if I switch between black and white and color too often— I can never learn how to really see the world in one.
The assignment is to shoot only black and white for an entire year. You can shoot RAW+JPEG with a black and white preview. And perhaps you can just use the black and white JPEG’s. If not, apply a simple black and white preset to all of your RAW photos (upon importing them).
How would you visualize the world in monochrome? I’ve found myself looking more for emotions, mood, smoke, shadows, lines, graphical elements, and minimalism.
This will be different for you — but learn how to see in monochrome.
14. Only shoot color for a year
The opposite assignment to the prior one; shoot only color for a year.
To see the world in color is different than seeing the world in black and white.
Personally, I’ve found shooting color to be more difficult than shooting black and white. Why? Because color leads to more complexity. You need to compose and frame a scene well, but also think about the color-combinations of a scene.
Not only that, but different colors evoke different moods and emotions.
Monochrome is easy to use because it reduces and removes distractions. Color introduces more complexity and distractions.
I would personally recommend most photographers to first try to master monochrome before taking on color photography.
Color photography also requires your exposures to be better, and for you to shoot in better lighting conditions. For color photography, try to shoot sunrise and sunset (golden hour), or use a flash.
Train your eyes to become sensitive to different colors— and play and have fun with it. See how you can mix different colors in a scene, whether they be complementary colors or contrasting colors.
15. Only shoot JPEG for a month
RAW and post-processing is a blessing and a curse. The problem is that many of us modern photographers over-rely on fancy post-processing techniques to improve our (mediocre) photos.
I’m guilty of it — I’ve added HDR to my photos, added selective color, intense vignettes, and “overly-processed” many of my photos (thinking that they would make the photos better).
But no matter how much you polish a turd, it will still be a turd.
Shoot only JPEG for a month.
If you’re really anxious, shoot JPEG+RAW (but only use the JPEG’s) for a month.
This way you can’t rely on fancy post-processing techniques to “salvage” your photos. A great photo shouldn’t require any excessive post-processing.
16. Only shoot with your smartphone for a month
We often make the excuse that we don’t always have our cameras with us. I know personally when I owned a DSLR, it would be a pain in the ass to carry with me everywhere I went.
But today we’re blessed by modern technology— especially with the smartphone. The smartphone is the ultimate camera— it is always with us, fits in our front pocket, and can also be used to edit/post-process/publish our photos.
If you have a big bulky camera and never take photos, take this challenge upon yourself: only shoot with your smartphone for a month. Lock up your “real” camera in a drawer, and see how you can be the most creative with just your smartphone.
The purpose of this assignment is to realize that photography is less about the gear — more about your personal vision, and how you see the world. The tool isn’t as important as your eye.
This assignment might also teach you the importance of just always having your camera with you, ready, and prepared to click.
17. Stick to one camera, one lens for a year
We’re rich. We live in a culture of abundance. Most photographers I know aren’t starving. Most photographers have an over-abundance of cameras, lenses, and gear.
If you’re a photographer who has too much “choice anxiety” from owning too much gear— only stick to one camera, one lens for a year. Lock up your other gear in a drawer, better yet, sell it or give it away to friends.
If you really want to hone in your photographic vision; you don’t want to be distracted by gear. Also it takes a long time to get to know one camera and one lens/focal length quite well.
By sticking with consistent gear, you will have fewer gear distractions — which will give you more creative focus.
18. Only shoot horizontal, vertical, or square for a month
I believe in “creative constraints” — by having fewer options, you are forced to be more creative.
For example, take framing. Try to only shoot horizontal (landscape), vertical (portrait), or square-format for a month.
Framing and composition is all about knowing what to leave out of the frame.
Restrict yourself to one orientation for a month — and you will find more visual consistency with your work. And you will be forced to compose more creatively.
19. Only shoot one square block for a month
With unlimited options, we become paralyzed. We don’t know what direction to take our creative work.
Restrict yourself geographically. For a month, only shoot one square block (both sides). This way, you will really have to dig deep, and find something very interesting in that one square block.
The benefit of this project is that you know exactly where to shoot. Just one specific area. And I think it is better to get to know one area very well, rather than knowing a lot of different areas superficially.
Being a great photographer isn’t about traveling the world, to exotic places, and making interesting photos overseas.
Being a great photographer is making the best out of what you have. For not complaining where you live; and being the best photographer in your own home town.
20. Shoot everyday for a month
The only way to become a better photographer is to shoot more. The more you shoot, the more feedback you will get, and the more connected you will feel with the world.
For a month, take at least 1 photo everyday. It can be with your smartphone, DSLR, or whatever camera you have.
Just make sure it is something personally-meaningful to you. Don’t just take the photo for the sake of it. Take a photo everyday of something that stirs your heart. That makes your soul sing.
The Zen masters recommended having a “daily practice.” By repetition, we reach a deeper understanding of “truth.”
In photography, we can read a hundred photo theory books, and still not learn anything. We only learn through taking photos, repetition, feedback, critique, and constantly seeking to improve ourselves.
Don’t put pressure on yourself that everyday the photo has to be great. But just build the habit.
21. Don’t shoot for a month
To balance out the prior experiment; try to go a month without taking any photos.
You’re not allowed to take photos for a month.
Ironically enough, this assignment might be the best way to re-invigorate your passion for photography. Why? We take photography for granted. But when something is taken away from us — we appreciate it more.
22. Shoot “selfies” for a week
Many of us complain that we don’t have interesting subjects to photograph.
Not true; your best subject is yourself. Because you’re always available, and you won’t say “no” to yourself.
There are different ways you can shoot ‘artistic selfies’ of yourself. Photograph your shadow, reflection, or put your camera on a tripod and setup a scene and shoot yourself.
To photograph yourself is an incredibly intimate experience. It is an experience that allows you to be comfortable on the other side of the camera. Not only that, but it makes you realize that no matter what, you can always photograph something — who better than yourself?
23. Have your portrait (professionally) shot
I learned this lesson from Sara Lando — if you don’t like being photographed, have another photographer (professionally) shoot your headshot. You will learn what is comfortable (and what isn’t comfortable) being a subject.
If you are a photographer, yet you don’t like having your own photo taken, you debilitate yourself. You assume everyone else doesn’t like having their photo taken (not true).
The secret is how can you make a photo of others (and of yourself) that makes the subject comfortable, at ease, and happy to be photographed?
24. Shoot with a focal length (you’re uncomfortable with) for a week
We all have our preferences for a certain lens or focal length. If you want to push your creative boundaries, shoot with a focal length that you are very unfamiliar or uncomfortable with for a week.
If you’re a 28mm guy, try shooting only with a 200mm lens for a week. If you’re usually a 200mm telephoto type of person, try a 35mm lens. If you usually shoot with a 50mm lens, try a 28mm lens.
By shifting our focal length, we shift our perspective, how we see the world, and how we approach our subjects.
By pushing ourselves outside of our comfort zone for a week, you will gain a new perspective and also perhaps find more gratitude for the focal length you’re already comfortable with.
Or better yet, you might find a new focal length you prefer— that can help you be more creative and innovative with your work.
25. “.7 meter challenge” (1-arm length challenge)
I learned this assignment from my buddy Satoki Nagata. If you’re uncomfortable getting close to your subjects, pre-focus your lens to .7 meters (about 1-arm length distance), and only shoot that distance for a month.
This assignment will force you to get physically and emotionally closer to your subjects.
You don’t need to shoot all your photos candidly. Ask for permission.
The more comfortable you’re shooting at a close distance— the easier it will be for you to take a step back.
26. Decapitate heads for a week
I often find photos of hands, feet, or body gestures more interesting than faces. So the assignment is to take photos of your subjects without including their faces/heads in the photo.
Try it out— for a week “decapitate” your subjects (don’t photograph their faces). This will force you to see the other characteristics and attributes of your subject on a deeper level.
27. Buy a mannequin (and use it as a test subject)
I learned this assignment from my friend Charlie Kirk — if you want to learn how to make better portraits, how to better use studio/flash, or how to frame — buy a mannequin as a test subject.
The great thing about having a mannequin is that you will always have a willing subject.
Try using different focal lengths, different settings, different apertures, shutter-speeds, different lighting setups, and anything else you want to experiment with.
This will allow you to better understand how to use your camera technically, how light (especially artificial light) works. Not only that, but you will have a forever patient subject at your disposal (whenever).
28. Only shoot with a flash for a week
There is a bias in photography against shooting with a flash. People say it looks “harsh” and unnatural” when compared to using natural light.
Yet the flash helps us overcome difficult lighting situations. It gives us more freedom to shoot at different points in the day, when the light might not be so nice.
For a week, experiment taking photos only with a flash. You will discover how the flash works during the day, in the shade, indoors, and other effects it might have on your images.
Having a flash is a good tool in photography. It can help you open up creative doors and opportunities. It will give you more freedom to shoot at all points during a day.
You don’t always need to shoot with a flash, but try to learn it to the best of your ability, and you can use it in special situations (or in all situations).
29. Put together a photo album
Today’s world is (mostly) digital. In photography, we spend 99% of our efforts sharing our photos online. Very rarely do we print our work, arrange and edit our work, and create physical objects with our photography.
Buy a cheap photo album at the store or online. Print a bunch of your photos as small 4×6’s. Then put together a photo album.
Do it with your partner, children, or friends. Make a theme, concept, or a story. Have fun. Spread the 4×6 prints on the floor, and figure out what kind of pairing, sequencing, and flow you want to add to your album.
Handling physical prints is a different experience than just looking at them on your computer or phone. The physicality of photography adds another dimension — for us to be more creative, to find more by-chance connections, and for us to be more engaged with others.
Making a photo album is a nice communal activity — something that families did a lot in the past. Making photo albums can help us re-connect ourselves with the past, but also create physical documents that will be well-preserved into the future.
30. Print your portfolio
Most of us have our portfolios online. Few of us have printed portfolios.
Look at your entire library of images, and ask yourself: Which of these 10 photos represent who I am as a photographer?
Then print out those photos at any size you like. Figure out how you would like the photos to be sequenced. Then carry them around with you, and share them with your friends. Ask them to sequence your photos according to their emotion and feeling.
Learn to show your photos as prints, rather than just a phone or computer. See how people react differently to your photos, and see how it feels different for you as a photographer.
Photos don’t exist until they’re printed. When photos exist in atoms, we have a deeper connection with them as humans. When we can hold a photo, or a memory in our hands— it feels more real. We appreciate it more, and we feel more connected with them.
I find a nagging sense of incompletion if I don’t print my photos. I appreciate my photos on my computer, but I love them when they’re printed.
This assignment will also give you a good opportunity to re-evaluate your entire body of work and ask yourself: What photos really show who I am?
31. Give away a photo everyday (for a week)
I feel the best gift you can give others as a photographer is prints. Why? Because prints are meaningful, easy to transport, and relatively inexpensive to print.
As an assignment, print out a bunch of your photos, and for a week, give out at least 1 print a day (to a stranger, friend, your barista, family member, etc). See how it affects their mood, and your own mood.
Photos are about sharing moments, art, and history. Share a little bit of your own soul by giving away your photos. You might discover that giving away your photos for free is more meaningful than selling them.
32. Start your own photography blog, and blog consistently for 30 days straight
I’m not a big fan of traditional “social media” – because you have no control. You’re a slave to the platform, and you don’t have as much ownership and creative opportunities.
When you create your own blog, you have more flexibility. You can publish your photos, text, and ideas in different format. If you own the blogging platform (I recommend wordpress.org) you then really own your content.
Blogs are great because they are historical documents of our past. Blogging is more difficult than sharing photos on social media— but it is also more personally-meaningful.
Furthermore, if you have a blog, it is easier indexed by Google. And anyone with a web browser can access your work — rather than only people on a certain social media platform.
The assignment is to start your own blog, and blog consistently for 30 days straight. It can be about anything. You can just upload a photo everyday, upload photos that inspire you, or share some personal stories behind your favorite images. Don’t take it too seriously— but try it for a consistent month.
By making a blog, you gain more ownership of your own photography, creativity, and work on the internet. If you’re a slave to a social media platform, your influence is very limited— and you don’t have as many different ways to express yourself creatively.
I see blogs as the future of photography — don’t be left behind.
33. Write down a list of photographic subjects you don’t like to photograph
How do you know what your “style” is in photography? For me, it is knowing what you don’t like to photograph.
For this assignment, figure out what genres of photography you dislike. Write them down, and simply avoid taking those photos.
Then by process-of-elimination — figure out what kind of photographer you are (based on what you don’t like to photograph).
Most people I know who are interested in street photography don’t like to take photos of sunsets and landscapes. People I know who like to shoot flowers don’t like to take photos of people. Photographers who like to shoot monochrome generally dislike shooting color (and vice-versa).
Find out who you are via subtraction and process-of elimination. Treat your photographic style the same.
What do you not like photographing? Then just don’t photograph it — photograph the opposite.
34. Intentionally try to take “shitty” photos for a week
One of the biggest barriers in our photography is that we always try to take really good photos. But it is rare that we make good photos.
So flip the concept upside down — try to intentionally shooot “shitty photos” for a week. Get rid of your concepts of good composition, framing, and light. Just take shitty photos of whatever you find interesting.
Follow your gut, soul, and instincts. Just click. Don’t think too much.
Then after a week, see if you feel more loose in your photography, less “blocked” creatively. Do you take yourself less seriously? Are you having more fun?
Perfectionism ruins us. Seek to make “good” photos. And in order to do so give yourself permission to make bad photos.
35. Create your own photography portfolio website
If you want to be more serious with your photography (and taken more seriously) — make a photography portfolio website. It can just be your firstnamelastnamephoto.com (or better yet, firstnamelastname.com).
Make your own photography website, and put on your 3 best projects (restrict each project to your 10 best photos). This way, you will be able to think more about long-term projects, rather than getting swept away in the social media madness of just uploading a single (random) photo a day.
When you pass away, what kind of body of work do you want to leave behind? Do you really think that your social media profile will exist after you pass away? Will anyone even look at it?
Having a website (instead of just having social media) is better— but not the best.
Aim on creating a body of work, and several bodies of work — then publish them as books.
36. Buy one photo book a month (for a year)
I’m a big proponent of photography books and education. For a simple motto, remember the phrase: “Buy books, not gear.”
Gear quickly gets outdated. A great photo book will increase in value over time — both monetarily and its value to you as a photographer.
I recommend trying to invest in at least one photo book a month (for a year). You don’t need to buy an expensive photo book — invest in a book that you plan on re-reading over and over again.
I also recommend buying photo books whenever you have the urge to buy a new piece of gear. Why? Photo books will actually help improve your photography, and the novelty of a new photo book will inspire you.
Every photographer needs inspiration from somewhere. Most of us get our inspiration online, on social media.
There are great photographers online, but if you really want to learn the work of the masters, invest in photo books. Photographers spend many years, thousands of dollars, to create their own book. Therefore you’re more likely to get better images in a photo book, than just when looking online.
A good photo book will last for your entire life— and will always be a great source of inspiration for you.
37. Look at all the portfolios of all the Magnum photographers
You are what you eat. If you look at the work of great photographers, you will aspire to make great photographs.
I also go this assignment from my buddy Charlie Kirk — go to the magnumphotos.com website and study all the portfolios of the Magnum photographers.
Write a list of which photographers you admire. Analyze their work, and ask yourself, “Why” you like their work.
Furthermore, when you find a photographer whose work really speaks to you, buy all their photo books, watch all their YouTube interviews, and learn as much about them as you can from them.
The more great images we look at, the more inspired we will be to make great photos. By analyzing great compositions and images, we will subconsciously take better photos when we’re shooting.
Also you will find there are a lot of Magnum photographers whose work you don’t “get” or “like.” That is fine — just think to yourself, “What about their work do I not like? And why would other people like their work?”
38. Attend a photography workshop
I think photography workshops are great— because you get a “shortcut” in your learning and education.
For a workshop, you get a distilled source of information from your teacher — often in a few days or a week.
I personally think that photography workshops are a much better “bang for the buck” than photography schools. And they’re much shorter, focused, practical, and hands-on.
Find a photography workshop on a topic that interests you. And know that you’re investing your money into your education — always the best investment for your money.
If you want practical instruction in photography, to learn, have any questions addressed, attend a workshop or two.
39. Learn how to process black and white film
I don’t think digital is better than film, nor is film better than digital. They’re different. But more similar than dissimilar.
I feel the process of shooting film, and learning how to develop it, makes you appreciate the art and process of photography much more.
When I started off in digital photography, I took for granted that you could take a photo and instantly see it on the back of your LCD screen.
Shooting film has taught me patience, appreciation for the process, and the tactile hands-on approach.
If you’ve never processed your own black and white film, give it a try. There are tons of YouTube tutorials on how to do it. By processing your own black and white photos, you will feel a lot more connected with your images. You might fall in love with the process and the magic.
After shooting film for several years, I came back to digital photography with new enthusiasm. I appreciated digital photography so much more — in terms of the convenience, the flexibility, and the modern technology.
If you’ve never processed your film before, give it a go. And not only that, but try to print your photos in a darkroom at least once — the experience might totally change how you view photography.
40. Photograph only hand gestures for a day
I think that great photos tend to have two things: 1) Great composition and 2) Great emotion.
We all know how to make better compositions. Few of us know how to capture emotions.
A practical way to capture better emotions: capture hand-gestures and body language of your subjects.
So for a whole day, do nothing but photograph people doing interesting hand-gestures. Not only that, but afterwards, look at your photos (with hand-gestures in them), and mimic the hand-gesture. This will help you connect emotionally, and empathize with your subjects.
Photos of people just walking (and doing nothing with their hands) tends to be boring. Hand-gestures are much more dynamic, interesting, and emotional.
Much of communication is body-language and hand-gesture based. Photos are silent and don’t say words. But hand-gestures do.
I hope this list of 40 photography assignments will help inspire and uplift you. It is hard to stay motivated in your photography — but know that photography isn’t a race. Photography is a personal journey for yourself. You want to take your time, enjoy the process, and gain personal meaning through your photography.
Never compete with any other photographer. Don’t compare yourself to other photographers by how many followers/likes you have on social media.
Only gauge your progress in photography by your own standards of yourself, and by your own gut.
Know that dips in motivation in photography are natural — and part of the game. What matters the most is how are you going to overcome these mental blocks and barriers in your photography. Are you going to let them encourage you to try harder? Or are you going to give up photography all-together.
Tenacity and staying in the game of photography is the goal. Never give up friend. Let’s stick in photography together for the long-haul.
Street Notes: A Workbook & Assignments Journal for Street Photographers
If you want to stay inspired when you’re shooting on the streets, pick up a copy of “Street Notes” — essentially a workshop that can fit into your back pocket.
Many of the assignments in the book are mirrored in this article, but I’ve personally found it much more motivating to have a printed book (than just looking at information on my phone). Plus there are lots of space for you to journal, reflect, and mark your progress.
See you on the streets.