Friday, February 15, 2013
Thursday, February 7, 2013
5 websites
1. http://www.lightstalking.com/lens-flare
2. in each picture there was a flare of light. no matter the light source it looked like a ray of sun light going into the picture. and in some of the pictures it had circles of light.
3. i learned that in early photograph, lens flare was not appreciated. but now most photographers want lens flare because its awesome. lens flare is made from reflections of light on the lens.
4.
5. A) i picked this photo because its like she is in the country and i love country photos. and i love how it goes from really light to normal and still being able to see the subject of the picture.
B) it has a little rule of thirds, lines, avoiding mergers
C) by: meghannash
1. http://www.lightstalking.com/storms
2. they are photos of storms. any kind really. from the dark clouds to the raining.
4.
5. A) i picked it because its a black and white photo of a storm. also because its cool how its raining on one side and not the other.
B) rule of thirds
C) by : Michael King
1. http://digital-photography-school.com/27-black-and-white-landscape-images
2. it was a bunch of black and white photos of landscapes and they are beautiful
3. i learned that black and white landscapes are just, in not more, beautiful than color landscapes
4.
5. A) i picked this photo because its a lone tree being surrounded by the rain.
B) symmetry, simplicity
C) by : marmota
1. http://www.lightstalking.com/34-photographs-of-cathedral-and-church-interiors-that-rock
2. they are pictures of big churches but inside of them.
3. i learned that there are beautiful big old churches out there.
4.
5. A)i picked this photo because it looks the most simple out of all of them.
B) lines, patterns, simplicity
C) by : The Wandering Angel
1. http://www.flickr.com/photos/kevinday/sets/775271/
2. its pictures of the same dead tree but with different landscapes and some of the dead trees are flipped horizontally
3. i learned that you can flip the pictures and add different backgrounds.
4.
5. A) i picked this photo because its not cluttered with backgrounds and because its tilted.
B) simplicity, rule of thirds.
C) by : Kevin Day
2. in each picture there was a flare of light. no matter the light source it looked like a ray of sun light going into the picture. and in some of the pictures it had circles of light.
3. i learned that in early photograph, lens flare was not appreciated. but now most photographers want lens flare because its awesome. lens flare is made from reflections of light on the lens.
4.
B) it has a little rule of thirds, lines, avoiding mergers
C) by: meghannash
1. http://www.lightstalking.com/storms
2. they are photos of storms. any kind really. from the dark clouds to the raining.
4.
B) rule of thirds
C) by : Michael King
1. http://digital-photography-school.com/27-black-and-white-landscape-images
2. it was a bunch of black and white photos of landscapes and they are beautiful
3. i learned that black and white landscapes are just, in not more, beautiful than color landscapes
4.
5. A) i picked this photo because its a lone tree being surrounded by the rain.
B) symmetry, simplicity
C) by : marmota
1. http://www.lightstalking.com/34-photographs-of-cathedral-and-church-interiors-that-rock
2. they are pictures of big churches but inside of them.
3. i learned that there are beautiful big old churches out there.
4.
5. A)i picked this photo because it looks the most simple out of all of them.
B) lines, patterns, simplicity
C) by : The Wandering Angel
1. http://www.flickr.com/photos/kevinday/sets/775271/
2. its pictures of the same dead tree but with different landscapes and some of the dead trees are flipped horizontally
3. i learned that you can flip the pictures and add different backgrounds.
4.
5. A) i picked this photo because its not cluttered with backgrounds and because its tilted.
B) simplicity, rule of thirds.
C) by : Kevin Day
Tuesday, February 5, 2013
magazine part 2
early magazine covers - they are really simple. they are like book covers; title and publication data.
they also had cover lines which were like little sub titles of whats in the
magazine. and they had picture symbols of what they stand for. like if they
were a strong hold then the had pillars.
poster covers - from 1890's- 1960's. they were magazines that needed no words. they had a main
picture on the front. the picture needed no words like it explained it all. pictures are
worth a thousand words. there are no cover lines or themes and the logo does not cover
the image.
Pictures married to type - they have cover lines, large title, and model that is in an unusual pose.
placement matters in the pictures married to type magazines. if it is not
positioned the right way, it can look really messy. also the placement and how
the model looks draws in the person to look at it, and when they see the cover
lines, its like a teaser so the person will look inside the magazine and buy it.
the forest of words - it has cover lines, large title, and models. sometimes the cover lines were larger
than the title to bring in the audience. sometimes they would have the picture really
large and provocative so the men audience would pick it up. most of the time the
models were to pose in ways that make it look like the cover lines were supposed
to be in that place.
they also had cover lines which were like little sub titles of whats in the
magazine. and they had picture symbols of what they stand for. like if they
were a strong hold then the had pillars.
poster covers - from 1890's- 1960's. they were magazines that needed no words. they had a main
picture on the front. the picture needed no words like it explained it all. pictures are
worth a thousand words. there are no cover lines or themes and the logo does not cover
the image.
Pictures married to type - they have cover lines, large title, and model that is in an unusual pose.
placement matters in the pictures married to type magazines. if it is not
positioned the right way, it can look really messy. also the placement and how
the model looks draws in the person to look at it, and when they see the cover
lines, its like a teaser so the person will look inside the magazine and buy it.
the forest of words - it has cover lines, large title, and models. sometimes the cover lines were larger
than the title to bring in the audience. sometimes they would have the picture really
large and provocative so the men audience would pick it up. most of the time the
models were to pose in ways that make it look like the cover lines were supposed
to be in that place.
Friday, February 1, 2013
best covers
1- formal
2 - formal
3 - formal
4 - informal
5 - informal
6 - informal
7 - formal
8 - informal
9 - informal
10 - informal
11 - formal
12 - environmental
13 - formal
14 - formal
15 - environmental
16 - informal
17 - informal
FAVORITE
Nobody embodied 2011 Leading Man more than the brash and enormously talented Ryan Gosling. In a way, we predicted his moment: Coming off a powerful performance in the indie film Blue Valentine, he had yet to fully display his range—in a comedy (Crazy, Stupid, Love), a political drama (The Ides of March), and a controversial action film (Drive) that captures the slow-boil sexiness he brings to every role. Gosling is a throwback to an old-school stardom, one that prized relaxed confidence and elegance, which is why we paired him with Mario Testino, the classiest photographer around.
the color of the font is kind of hard to see. the font is a little too small and the color kind of blends into the grey of his suit also with his hair and the red font. the background might need to be another color or he should be in a different suit because his white shirt kind of blends in with the white background.
2 - formal
3 - formal
4 - informal
5 - informal
6 - informal
7 - formal
8 - informal
9 - informal
10 - informal
11 - formal
12 - environmental
13 - formal
14 - formal
15 - environmental
16 - informal
17 - informal
FAVORITE
the color of the font is kind of hard to see. the font is a little too small and the color kind of blends into the grey of his suit also with his hair and the red font. the background might need to be another color or he should be in a different suit because his white shirt kind of blends in with the white background.
magazine tips
1. Familiar recognition from issue to issue (that’s the brand)
2. Emotionally irresistible (that’s the image’s appeal)
3. Arousing curiosity (that’s to pull the casual glancer in)
4. Intellectually stimulating, interesting (that’s to promise benefits)
5. Efficient, fast, easy to scan (that’s showing off the service)
Four ways to judge your cover:
1. Covers are the prime sales tool that must be judged realistically both for content as well as form (i.e., what they show and how they show it). Never trim a printout, mount it beautifully, and display it with its alternates on the finely polished surface of the conference-room table. Designers love to do this, because to them, the cover is enormously important (and so it is, but not necessarily for their reasons). That framing, matting and mounting in a formalized presentation cheats you into believing that what you are being shown is “art” that you must judge on aesthetic grounds, liking it or loathing it … “Can we make the type a tad redder?” Few magazines qualify for covers that are “art.”
2. Instead, ask the designer to print out all the alternates as hard copy, trim them accurately to magazine size and glue them onto old issues, so you can see them as close to the real thing as possible. Now, toss them on a tabletop, so they flop around and overlap like real magazines do.
3. If you can spare the time, go to the local drugstore or bookstore, and sneak your upcoming issue in among the other magazines on the racks. Does it hold its own or does it disappear? To ensure that atmosphere of realism, I persuaded that multititle publisher to invest in a full-color, life-size photomural of a newsstand and have it permanently installed. We attached clips and glass shelves on it to hold the mock-ups. The realistic circumstances not only improved the noticeability of the covers, but reduced friction between art/edit/circulation/management, because everybody could see what the reality of selling was about.
4.If selling on newsstands is not your problem, but competition among executives is, gather copies of what your targets might be reading, including your competition, of course. Mock up an executive’s in-box or tabletop arrangement in some way, and place yours among them. That is the realistic way to judge your cover. Keep that still-life stack for next month’s headaches
2. Emotionally irresistible (that’s the image’s appeal)
3. Arousing curiosity (that’s to pull the casual glancer in)
4. Intellectually stimulating, interesting (that’s to promise benefits)
5. Efficient, fast, easy to scan (that’s showing off the service)
Four ways to judge your cover:
1. Covers are the prime sales tool that must be judged realistically both for content as well as form (i.e., what they show and how they show it). Never trim a printout, mount it beautifully, and display it with its alternates on the finely polished surface of the conference-room table. Designers love to do this, because to them, the cover is enormously important (and so it is, but not necessarily for their reasons). That framing, matting and mounting in a formalized presentation cheats you into believing that what you are being shown is “art” that you must judge on aesthetic grounds, liking it or loathing it … “Can we make the type a tad redder?” Few magazines qualify for covers that are “art.”
2. Instead, ask the designer to print out all the alternates as hard copy, trim them accurately to magazine size and glue them onto old issues, so you can see them as close to the real thing as possible. Now, toss them on a tabletop, so they flop around and overlap like real magazines do.
3. If you can spare the time, go to the local drugstore or bookstore, and sneak your upcoming issue in among the other magazines on the racks. Does it hold its own or does it disappear? To ensure that atmosphere of realism, I persuaded that multititle publisher to invest in a full-color, life-size photomural of a newsstand and have it permanently installed. We attached clips and glass shelves on it to hold the mock-ups. The realistic circumstances not only improved the noticeability of the covers, but reduced friction between art/edit/circulation/management, because everybody could see what the reality of selling was about.
4.If selling on newsstands is not your problem, but competition among executives is, gather copies of what your targets might be reading, including your competition, of course. Mock up an executive’s in-box or tabletop arrangement in some way, and place yours among them. That is the realistic way to judge your cover. Keep that still-life stack for next month’s headaches
photoshop notes
Nestle – tools are stacked on
each other – to access those tools you have to right click
Command + = zoom in
Command - = zoom out
Command o = open
Command c = copy
Command v = paste
Command z = step back
Command s = save
Command p = print
>image> adjustments>levels
channel blue
channel green
channel red
moved just the black and
white Hershey’s kiss
channel RGB – moved just the
brown Hershey’s kiss (just a little lighter)
crop
always crop to 300
resolution – for now do not
crop selectively – crop the entire image
to turn an image go to
>image>image rotation
CW and CCW
CW = clock wise
CCW = counter clock wise
180 – ½ rotation
save as
rename your image
make sure the image is save
as a .jpg at the highest (maximum) image quality
save – you do not have to
rename the image at this point. Save often and regularly
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