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Color Theory Printables - Could be good pre/post assessment! - $65 annually

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Color Theory Printables - Could be good pre/post assessment! - $65 annually

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https://www.kitchentableclassroom.com/color-theory-printable-book/

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https://flipgrid.com/

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Plus it has a seven part challenge to test conceptual and technical understanding! awesome. Can retake if needed and screenshot results

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If you aim to obtain an improved focus, then a follow-focus system should probably be your first choice. As for wireless follow focus units, they are more advanced than the traditional methods of shooting. Check out these units we found for you. 1.

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Idea: Make own "beginners mistakes" video"

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Idea: Make own "beginners mistakes" video"

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example below :) Great intro to video too!

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5 BEGINNER PHOTOGRAPHY MISTAKES + How to Solve Them!

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15 Exercises: 100 paces (I'd do less), Shooting Blind (30 pics with preview off), B/W (Set cam to monochrome), Checkmate (playing with ap settings) 

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15 Exercises: 100 paces (I'd do less), Shooting Blind (30 pics with preview off), B/W (Set cam to monochrome), Checkmate (playing with ap settings) 

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15 Photography Exercises Guaranteed to Improve Your Skills

Practice makes perfect

It takes practice to produce high-quality photography. As a beginner, it's vital that you learn some basic photography exercises in order to improve your skills.

The very best photographers practice regularly, in order to better understand their equipment, improve picture composition and develop their individual style.

To help you on your way, here at the IDI Blog we've listed our 15 favourite photography exercises that are guaranteed to make you a better photographer ...

1. 100 Paces

This is one of those photography exercises aimed at improving your skills of observation.

Place your camera on an automatic setting and take 10 pictures of your surroundings. Make sure that all of the pictures are different.

Next, move 100 paces forward and take another 10 photos. After you've completed this exercise three or four times, you'll start noticing things that you would have missed before.

Advanced tip: To crank it up a notch, repeat the exercise with your camera set to manual.

2. Guess the Settings

Ask a fellow photography enthusiast to play "guess the settings" with you - make a competition out of guessing the settings for each image before looking.

You'll soon become much better at recognising the effects produced by each different setting.

[Flickr is a great place to learn about the various camera settings. If you look below each image, you'll often find the settings listed - f-stop, shutter speed, ISO, and so on.]

3. Macro Max

A common mistake made by beginner photographers is a failure to fill the frame.

To rid yourself of this tendency, practice taking shots which involve you getting as close as you can to your subjects without losing focus.

Not only will you produce professional-looking, detailed images, but you'll also get to know the capability of your lens.

4. Squirrel Hunter

Moving subjects are particularly tricky to capture, so a bit of extra practice might be needed to hone your skills.

A great exercise to help with this is visiting your local park and taking some photographs of squirrels, pigeons, or whatever other wildlife you see running around.

Advanced tip: For an even greater challenge, try capturing some close-up shots of moving insects.

5. Shooting Blind

Digital photography gives you the freedom to take hundreds of shots during a single trip and delete them as you go.

But with the option to delete so readily, it's all too easy to fall into the trap of not focusing properly on each shot.

Set yourself a limit (e.g. 30 photographs) and head out for the day. Turn off the preview on your DSLR 's screen and don't look at any images until you get home.

You'll soon discover the merits of taking your time. Alternatively, you could go out shooting with a simple film camera.

6. Black and White

Black and white photography exercises require you to look at the world in a different way. Contrast, textures, and shapes become more prominent in the absence of colour.

Set your camera to monochrome and go for long walk, capturing images as you go.

You'll soon see that some images are enhanced by their lack of colour, while others might require a more complex palette to work well.

7. Copycat

This exercise is intended to give you an insight into the mind of your favourite photographer. Select a few of their best images and try to recreate them as closely as you can.

Don't worry if they're not exact copies; this approach will help you to pick up new techniques, which will influence and progress your own style.

And remember, the photographers you admire didn't become great by chance - they had to practice too.

8. Shot in the Dark

Getting used to low light situations can be challenging.

To practice, go out shooting after dark with your flash turned off. You'll soon learn to make the most of low light sources and long exposures.

This exercise will help you to get to know your settings better, and it's fascinating to see how the camera captures night scenes differently to the human eye.

Reminder: Remember to take a tripod with you!

9. Selfie Conscious

As a photographer, it can sometimes be easy to forget what it's like to be on the other side of the lens, especially when taking portraits.

Why not try setting your camera up on a tripod and taking a number of self-portraits?

For capturing your "selfie", a remote shutter release or timer will do the trick.

By putting yourself in the hot seat, you'll have a more rounded understanding of your craft and a little more empathy for your future subjects.

10. Checkmate

A chess board is a great tool for learning about depth of field and aperture value.

Place the pieces around the board, as if you're in the middle of a game, and get in close. Experiment with different aperture settings to see what effect they have.

First, try to get all of the pieces in focus, before then trying to get only the pieces close to the lens in focus against a blurred background.

Pay attention to the lines of the chess board and let them inform your framing by leading your eye to a particular point of interest.

With a little experimenting you'll learn a lot about aperture and depth of field, which you can then take beyond the board and apply to your own photography.

11. On the Hour Every Hour

The next time you have a free day, take a photograph of the same subject every hour.

This exercise will give you a deeper understanding of light and its changing effects throughout the course of a day.

You'll soon be raving about the photographer's precious ' golden hour ' (shortly after sunrise and just before sunset, when daylight has a reddish glow).

Pro tip: Pick a day when there is a clear sky to get the best results.

12. Upon Reflection

Spend a day shooting only reflections of your subjects.

Use puddles, car mirrors, glass, polished metal - anything you can find with a reflective surface. Be sure not to press the shutter unless you're pointing at a reflected image.

This exercise will help you consider new ways of photographing familiar subjects, giving them a new angle and adding another dimension of interest.

13. Know your ABCs

Take 26 photographs, each of a subject beginning with a different letter of the alphabet. Take your time over every picture to get the best image of your alphabetised subjects.

You'll have to get creative as some letters are far more difficult than others. Best of luck with X.

A variation of this is to grab a friend and each pick a letter at random. The first one to return with ten photographs of subjects beginning with that letter wins!

14. No Zoom

Zooms can make photographers lazy. They can sometimes be an easy fix for any problems you have in getting around your subject.

But don't be afraid to get up close and personal. Disable your zoom and go out shooting with a fixed lens.

This will encourage you to engage fully with your subject and capture it from more interesting, intimate angles.

15. The Good, the Bad and the Ugly

Imagine that you've been commissioned by a local authority to capture your surroundings in a way that would appeal to visitors in a new tourism campaign.

You'll soon find that capturing places in their best light isn't as straightforward as it might seem.

Next, switch it around and take a selection of photographs which make the area look less appealing than it actually is.

These exercises will help you to see places that you're familiar with in completely new and contrasting ways.
If you found these photography exercises helpful, and want to expand on them further, check out our free eBook: How to Take Better Pictures - Beginner's Guide to Professional Photography.

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15 Photography Exercises Guaranteed to Improve Your Skills

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It takes practice to produce high-quality photography. As a beginner, it's vital that you learn some basic photography exercises in order to improve your skills. The very best photographers practice regularly, in order to better understand their equipment, improve picture composition and develop their individual style.

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Modern photography can be a very complex and involved venture. There is so much to learn and so many terms, topics and techniques that it is enough to make anyone say "All that for a photo??"

Below is a series of questions to test your Digital Photographic knowlegde. There will be some true and false questions and also multiple choice. And even a few where you must supply the entire answer. The first section - "Basics" - will have correct answers scored at 5 points each. The second "Intermediate" section will have questions all given 10 points for the correct answers. Finally, the "Advanced" questions will be awarded 15 points a piece. The correct answers will be below. Good LUCK!!

1 - If you are shooting a photo and want to get a greater depth of field in the image, would you shoot at:

2 - When shooting handheld, IS, VC, VR, (Vibration Controls) will help make camera shake from your hands much less noticeable than without the vibration control turned on.

3 - On camera pop up flash is best used when:

4 - As a rule, Shutter speed should be at least 1 / FOCAL LENGTH when shooting handheld. An example here would be if shooting at 100mm, your Shutter speed should be at least 1/100 to help avoid camera shake.

5 - When shooting in Manual Mode, which of the following controls the exposure of your capture?

6 - Resolution of an image describes:

7 - A tripod is an essential piece of equipment for night photography

8 - The "Nifty Fifty" describes:

9 - A Professional, Full Frame camera has greater depth of field than a crop sensor camera body

10 - A macro lens is a lens that:

INTERMIDIATE

11 - Panning is a technique used to freeze the subject yet allow surrounding area to be blurred out as the subject moves in the scene. A shutter speed that may be used would be:

12 - Shooting flash through a shoot thru umbrella will soften the light for a more pleasing light. Placing this light closer to the subject will create a more hard light.

13 - Pressing the shutter release halfway will activate the autofocus mechanism in your camera. You can, however, put this function on another button on your camera's rear side. What is the term used for this method of focus?

14 - Dust on your image sensor can be best removed by blowing on the sensor with:

15 - When shooting at f5.6 and you need twice the amount of light, simply change your Aperture to f2.8 - half of f5.6!

16 - When in Aperture Priority, adjusting EXPOSURE COMPENSATION will alter:

17 - Mirror UP (Mup) release mode in a DSLR helps with:

18 - If your Camera is set at ISO 100, how many stops of light would 1600 be up the line?

19 - When setting the color space in your camera and you shoot RAW, you should ALWAYS use:

20 - Luminosity masks allow the photographer to"

21 - Your camera tells you the proper exposure is with a 1/500th shutter speed. You now attach a TEN STOP ND filter. What shutter speed would you now need to get that same exposure but with 10 stops of light blocked and taken away?

22 - You are doing a product shoot using manual flash. Everything looks good exposure wise but you want more depth of field. You're at f5.6 and want to go to f16. Assuming your camera is setup at ⅓ increments, how many "clicks" do you have to stop down on your camera and how many stops of power must you add to your flash?

23 - When working in Lightroom a RAW file, what is the best color space to be working in?

24 - When using the PEN TOOL in Photoshop, to turn this path into a selection immediately, you can use the two key combo of: (You will need to know this one!)

25 - When creating a Frequency Separation group in PHOTOSHOP, what BLEND MODE should the TEXTURE layer be set in?

ANSWERS (Don't CHEAT!!)

BASICS

#1 - F16

The smaller the Aperture, the greater the depth of field. Since the larger number is the smaller aperture, F16 would be correct since smaller apertures will give you greater depth of field

#2 - TRUE

Image Stabilization, Vibration Reduction, etc - can help you substantially when hand holding your camera when using shutter speeds that normally would cause camera shake.

#3 - Subject is backlit and you want to fill shadows in with flash

An example here would be when shooting with Sun behind Subject. The pop up flash could be used to fill in shadows.

#4 - TRUE

1 over the focal length is a good rule of thumb when shooting. However, with the advent of the above mentioned Vibration Control tech, shooters are able to shoot at shutter speeds slower than this rule dictates and still get good results.

#5 - All Of The Above

When shooting in Manual Mode, YOU control all aspects of the exposure triangle. When you change one, you must change the other to compensate in order to keep the exposure the same.

#6 - The Size of the image in Pixels

Resolution is simply Pixel height by Pixel Width. So a 24 megapixel image would have a resolution of 6000×4000, for example.

#7 - True

For night photography, a Tripod is absolutely something that is needed to create images in extremely low light. Shutter speeds are too slow to hand hold.

#8 - A 50mm f1.8 lens

The standard f1.8 50mm lens is known as the "Nifty Fifty" and is a lens many say that you should learn with. It is not expensive and it also is much sharper than the kit lenses that come with your camera.

#9 - FALSE

A full frame camera has a much more SHALLOW depth of field than a crop sensor simply because of the size of the sensor. In short, the smaller the sensor, the greater the depth of field and that is why cell phones have great DOF.

#10 - Is Used In Extreme Close Ups

A True Macro lens produces a reproduction ratio of 1:1 and can focus unusually close to the subject.

#11 - 1/30th

While 1/30th isn't the only speed that can be used, the other options here simply would not apply.

#12 - FALSE

When placing a light source closer to the subject, you will always will soften the light. The closer, the softer. The further the harder.

#13 - Back Button Focus

This one is pretty much self explanatory. The AE-L/AF-L button can often be used as the back button focus button.

#14 - Rocket Blower

Compressed Air can release some liquid when initially spraying so they should be avoided when cleaning an image sensor.

#15 - FALSE

f2.8 t0 f4 would be half the light. Going to f5.6 would be 1/4th the light that f2.8 collects.

#16 - Shutter Speed

The one exception here would be IF you had AUTO ISO set. If that was the case, the ISO will change when exposure COMP is changed.

#17 - Image Sharpness

This is a tricky one. There are only some shutter speeds where this is going to help and they tend to be slower speeds around 1/2-1/30th of a second. Much faster shutter speeds and much slower speeds with not benefit from MUP mode.

#18 - Four

100 to 200 is one stop. 200 to 400 is two. 400 to 800 is three and finally 800 to 1600 is 4 Stops of Light.

#19 - Who Cares!?!?

This is a trick question. First of all, you can choose from sRGB and RGB - ProPhoto is not an option in camera. When shooting RAW, the color space does not matter at all. It only has bearing when shooting JPEG.

#20 - All Of The Above

Luminosity Masks allow you to do all of these adjustments and MUCH more!

#21 - 2 Seconds

That's just the right answer! Nothing else really!

#22 - 9 Clicks and 3 Stops

Since 1/3 stops are used, 9 clicks simply means 3 stops. Basic math. Much more simple than many think!

#23 - None Of The Above

Lightroom does NOT give you a choice as to what color space you work in. Lightroom works in a variation of ProPhoto called Melissa RGB. Only when you export to an external editor such as Photoshop you choose a color space to work in.

#24 - Command / CTRL + ENTER (RETURN)

This is a very handy shortcut to know when using the PEN TOOL to create selections quickly.

#25 - Linear Light

Frequency Separation is very powerful when used with retouching images. This is a very detail oriented question for the geeks out there that just have to know how things work!

YOUR SCORE!

With a possible 225 points total (50 points for 1-10, 100 points for 11-20 and 75 more points for 21-25.

What did you score? Post in the comments section below!

About the Author

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Photo Quiz - Test Your Photographic Knowledge

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Modern photography can be a very complex and involved venture. There is so much to learn and so many terms, topics and techniques that it is enough to make anyone say "All that for a photo??" Below is a series of questions to test your Digital Photographic knowlegde.

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Photo Basics: Great short videos of AP/SS/ISO, Crop Sensors, Focus Modes!!

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Photo Basics: Great short videos of AP/SS/ISO, Crop Sensors, Focus Modes!!

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Nice voice. AP/SS are basic. ISO, WB, Focus modes amazing! Lens/memory card videos not that useful. Plus: canon screenshots! Excellent Blended Learning Tool less than 2 minute usually.

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Hey there, you made it! Glad to see you found your way to our Basics of Photography series. We have taught the basics of photography to photographers around the world through Art of Visuals, so we know just exactly how difficult it can be to learn the basics principles of photography. My goal is to make this Basics of Photography series the absolute simplest way to learn the basics of photography in the fastest amount of time possible. I hope you'll love this series because of what you learn here, and I hope you'll join the Art of Visuals Academy after you get your feet wet with the Basics of Photography. Let's get going.

BASIC EQUIPMENT YOU'LL NEED

You can do photography with even the simplest of cameras, but the principles that I'd like to teach are for people who want to learn to use a DSLR camera, a micro four-thirds camera, or at least a camera that allows the photographer to adjust the shutter speed, aperture, and ISO. Now that you have your camera, let's jump into learning exposure.

EXPOSURE

When we talk about "exposure," we simply mean the brightness or darkness of a photo. It seems simple enough to take a photo that is correctly exposed (has the proper brightness or darkness), but in reality, it can be quite tricky. Exposure uses Aperture, Shutter speed, and ISO in conjunction to create a properly exposed image. View, share, and download the infographic below to help better understand exposure below.

Art of Visuals Exposure Cheat Sheet

WHAT IS APERTURE?

Simply put, Aperture is the hole within your lens, through which light travels into the camera body.

The image above on the left is shot at an aperture of 1.4 making it a wide aperture while the image on the right is taken at 5.6 making it a more narrow aperture, therefore more of the shot is in focus.

WHAT IS ISO?

In very basic terms, ISO is the level of sensitivity of your camera to available light. The lower the ISO number, the less sensitive it is to the light, while a higher ISO number increases the sensitivity of your camera.

Low Iso Image

High Iso Image

WHAT IS SHUTTER SPEED?

Shutter speed, also known as "exposure time", stands for the length of time a camera shutter is open to expose light into the camera sensor. If the shutter speed is fast, it can help to freeze action completely, as seen in the below photos. If the shutter speed is slow, it can create an effect called "motion blur", where moving objects appear blurred along the direction of the motion which you can also see in the below photo.

Example of a high shutter speed image.

Example of a slow shutter speed.

WHAT IS WHITE BALANCE?

As the name suggests, white balance balances the color temperature in your image. How does it do this? It adds the opposite color to the image in an attempt to bring the color temperature back to neutral. Instead of whites appearing red or yellow, they should appear white after correctly white balancing an image.

Art of Visuals White Balance Cheat Sheet

AUTO FOCUS MODES AND HOW THEY WORK

DSLR's come with a range of autofocus modes. For simplicity, will focus on AF-C and AF-S.

Single Focus

One Shot / S-AF / Single Servo / AF-S / S, etc., is the simplest form of autofocus. In general, you press the shutter-release button halfway, or your camera may have a separate AF-ON button, and the camera will lock focus on a subject on which you have placed the active autofocus sensor. Press the shutter button the rest of the way to take the image. The advantage? Simplicity. You aim, the camera focuses, and you shoot. The disadvantage? Did your subject move? Did you move? If the distance between camera and subject changed, that initial focus solution is no longer valid. You will have to go through the process again. If your camera has an "autofocus assist" light on the front, it is likely that you need to be in this mode to get the lamp to illuminate the scene so the camera can focus.

Continuous Focus

Continuous AF / C-AF / AI Servo / AF-C, etc. is where the camera's electronic brains start to do some pretty cool things to help you keep your subject in focus. In general, the camera locks onto a designated subject, chosen by you using the autofocus point(s), and then tracks that object as it moves in the frame. If the locked subject moves closer or farther, or if you move, the camera will adjust focus accordingly. The advantage? Taming dynamic situations with sports action, moving kids or roaming wildlife. The disadvantage? If you must recompose your image after the focus is locked, your camera may get confused into locking onto another part of your frame.

PHOTOGRAPHY COMPOSITION

So, "composition" describes placement of relative objects and elements in an image. Consequently, composition is a key aspect of great photography. There is hardly a way to overemphasize the importance of composition. Any aspiring artist ought to give composition of his work a lot of attention.

Composition examples.

Composition examples.

WHAT IS AN IMAGE SENSOR

The camera sensor size affects many factors in your images and the functions of your camera body. It has a major impact on the quality of your image, how your lens functions, and how it performs in low light conditions. There are three basic size categories for sensors: Four Thirds, APS, and Full Film Format(full frame). Smaller sensors are used in point and shoot cameras while the larger ones are found in DSLR cameras.

Sony a7Sii Full Frame Mirrorless Camera

METERING AND HOW IT WORKS

Metering is how your camera determines what the correct shutter speed and aperture should be, depending on the amount of light that goes into the camera and the sensitivity of the sensor.

Metering from Art of Visuals on Vimeo.

This is what your camera uses to store images and video files from the camera. The faster the memory cards the better the performance for photo and video. We personally shoot with Lexar Memory cards because they are fast and dependable but there are also other great companies out there.

Memory cards from Art of Visuals on Vimeo.

PHOTOGRAPHY LENSES FOR BEGINNERS

In this video below we make recommendations for the best lenses for beginners. You can also visit our partner site B&H photo to shop deals on different camera lenses.

We really hope you enjoyed the Art of Visuals basics of photography. We hope to continue to educate and inspire you. If you are interested in learning more about photography and more advanced techniques then you should head on over to the Art of Visuals Academy where we teach you all the ins and outs of photography.

Did you find this course helpful? Then you will love the new AOV Creators Bundle and Master Creators Bundle. The fastest and easiest way to create your next masterpiece. Includes editing tools and educational tutorials. Use code: blog20 for 20% off the Creators Bundle and Master Creator Bundle.

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The Basics of Photography - Introduction to photography (Tutorials) - Art of Visuals

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Hey there, you made it! Glad to see you found your way to our Basics of Photography series. We have taught the basics of photography to photographers around the world through Art of Visuals, so we know just exactly how difficult it can be to learn the basics principles of photography.

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Ex: Don't overshoot, Check your Background, Shoot straight! How to hold a camera, Get in Close, Get a balance btwn shooting People and Things, Lock your Focus

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Today while sorting through some old boxes I found a photo album filled with the first ever photos that I took as a young budding photographer. I was around nine years old when I first started using our family's film point and shoot camera and I still remember my Dad's 'training' on how to use it. Basically it consisted of this advice:

'Don't take too many shots'

Remember, this was back in the day of film photography where film and processing costs made my Dad's advice pretty sound. However looking back over my early images I wish he'd taught me a few other things about taking photos. Here's some of the advice I could have benefited from hearing.

Note - before I start I should say that you can probably teach a child too much about photography and 'kill' some of the playfulness that I think makes the images that a child can take special. My main advice would be to instill in your child the first lesson below - of experimenting and having fun:

1. Experiment

shoot from different perspectives - up high, down low etc

getting in close - stepping back for a wider angle shot

moving around your subject to shoot from different sides

experimenting with different settings (teaching them about different exposure modes)

2. Check your Backgrounds

Teach your children to scan the background (and the foreground) of an image quickly and to change their framing if there's too many distractions - otherwise their shots will end up like mine used to with all kinds of objects growing out of the heads of those I was photographing.

Read more about How to Get Backgrounds Right

3. Hold the Camera Straight
The other obvious problem with many of my first images is that they rarely lined up straight. In fact after viewing my first album for a few minutes I began to feel quite dizzy!
While shots that are not straight can be quite effective (they can be playful or give a more 'candid' feel to them) it is good to teach your children to check the framing of their shot before hitting the shutter.

Read more on Getting Horizons Horizontal and Getting Images Straight

4. How to Hold a Camera
It is easy to assume that everyone knows how to hold a digital camera - however while many people do it intuitively some will not - particularly children who are unfamiliar with them. In fact I've seen a lot of adults who could do with a lesson or two on how to hold a camera and whose images must suffer with camera shake as a result of poor technique.
A quick lesson on securing your camera could help a child get clear, shake free images for years to come.

Further Reading on How to Hold a Digital Camera

5. Get in Close

Teach your children how to use the zoom on your digital camera - but don't forget to teach them how using their legs to move closer can achieve the same results!

Learn more about Filling Your Frame

6. Take Lots of Photos

While you probably will want to encourage your children not to take 100 shots of exactly the same thing - encourage them to experiment with lots of different shots over time and as they do you'll see their photography improve.

7. Getting the Balance Right Between Photographing People, 'Things' and Places
I still remember coming back from my first overseas trip as a teenager (a school trip) and showing my parents my photos. Their first comment was that I had hardly taken any shots of people. All my shots had been of buildings. While some of them were interesting - I missed one of the most important aspects of the trip - those I was traveling with.
I chatted to a friend with two children recently and she told me that one of her children did the same thing with me - but the other came back from a school trip with hundreds of photos of their friends but none of the sites that they saw. I guess some children get too focused on photographing sites and some too focused upon photographing people. If you see your child doing this - perhaps reflect back to them that they think about different types of photography.

8. Find a Point of Interest

Once they've identified the point of interest they can then think about how to highlight it (by positioning themselves, using their zoom etc).

Learn more about Finding Points of Interest in Your Photography

9. Rule of Thirds
A simple principle of photography that I've taught a number of children is the Rule of Thirds. While I've talked numerous times about how breaking this rule can also be a powerful effect - it is something that I've found really can lift a child's images - particularly when they are photographing other people.
Even if the child doesn't completely understand to position their subject right on the intersecting third points - to teach them how to place their subject off centre can be enough.

Read our Rule of Thirds Tutorial

10. Review Your Children's Images with Them

As you scroll through them pause to affirm them with what they've done well and to point out things that they could do better next time to improve their results. Pay particular attention to the shots that they do well with as this will give them positive reinforcement and inspiration to keep going with their hobby.

11. Focal Lock
One important technique that children will do well to learn is how to use focal lock. While most cameras do well in auto focusing upon subjects there are times when you'll end up with shots that are out of focus because the camera doesn't know what the main subject is (particularly if they are placing subjects off centre with the rule of thirds).
Teach your child how to press the shutter halfway down to focus and then to frame the shot while still holding it down and they'll have a skill that they'll use forever!

Learn how to Use Focal Lock

12. Different Modes for Different Situations
The day that i discovered my family film camera had a little dial for different 'shooting modes' on it was a day my photography improved a little. Most digital cameras these days have the ability to switch a camera into modes like 'portrait', 'sports', 'macro' etc. Teach your child what these modes mean and when to switch to them and you'll be taking them a step closer to learning about how their camera works and how to learn about manual exposure modes (see the next point).
Just knowing that different situations will mean you need to use different settings is an important lesson for kids to learn as it helps them to become more aware of not only their subject but things like how light, focal distance and subject movement can impact a shot.

Read our tutorial on Different Camera Modes

13. Exposure Settings

The best way for them to learn this is by introducing them to Aperture and Shutter priority modes.

Learn more about different aspects of exposure including Shutter Speed, Aperture and ISO.

What do You Teach Your Children?

Of course deciding which of the above lessons for kids on photography to teach your child will depend upon their age and experience. Some are obviously more appropriate for some children than others. I'd be interested to hear what readers do when it comes to this topic? What have you taught your kids?

With my own son (who is 16 months old) we're obviously not up to any of these - however I am teaching him to become familiar with cameras - showing him images once they've been taken on the LCD, letting him look through the viewfinder and even pressing the shutter. This familiarization is really nothing more than that - but in doing so he's becoming more comfortable with cameras - and I've noticed when I'm photographing him (which does happen a lot) he's much more happy to pose for me.

Read more from our category

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13 Lessons to Teach Your Child About Digital Photography

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Today while sorting through some old boxes I found a photo album filled with the first ever photos that I took as a young budding photographer. I was around nine years old when I first started using our family's film point and shoot camera and I still remember my Dad's 'training' on how to use ...

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From improve photography basics series

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Great for Basic Photography Instruction Sequencing and minimalized content

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Great for Basic Photography Instruction Sequencing and minimalized content

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I'm so glad you found your way onto my Photography Basics series. I have taught the basics of photography to millions of photographers around the world through Improve Photography, so I know just exactly how difficult it can seem to learn the basics of photography.

My goal is to make this Photography Basics series the absolute simplest way to learn the basics of photography.

I hope you'll love this series because of what you learn here, and I hope you'll join the Improve Photography community after you get your feet wet with the photo basics. Let's get going.

Basic Equipment You'll Need

You can do photography with even the simplest of cameras, but the principles that I'd like to teach are for people who want to learn to use a DSLR camera, a micro four-thirds camera, or at least a camera that allows the photographer to adjust the shutter speed, aperture, and ISO. Even some pocket cameras have this functionality.

Here are some of our entry level DSLR options. The (with Accessories) link will show you a kit that comes with the camera, lens, case, extra battery, and a memory card:

Canon EOS Rebel T6 with 18-55mm and 75-300mm Lenses ( with Accessories)

Nikon D5600 with 18-55mm and 70-300mm Lenses ( with Accessories)

Canon EOS Rebel T7i with 18-135mm Lens ( with Accessories)

Now that you have your camera, it is time to learn exposure.

Exposure-the most basic element of photography

When photographers talk about "exposure," we simply mean the brightness or darkness of a photo. It seems simple enough to take a photo that is correctly exposed (has the proper brightness or darkness), but in reality it can be quite the trick.

To help get the right exposure with your camera settings - you can download this Camera Settings Cheat Sheet guide.

If you're reading this Photo Basics series, it probably means that you currently shoot on the "Green mode" of your camera-or the automatic setting. That means the camera entirely controls the exposure of the picture. When you shoot on automatic mode, your camera selects an aperture setting, an ISO setting, a shutter speed, and a host of other settings for you.

Automatic can be handy, but it also seriously limits your creative ability to make a beautiful picture.

Want proof that automatic isn't the best way to shoot? Check out the picture below. On the left, the picture was taken entirely in automatic mode on a Canon Rebel DSLR. That might look okay to you... until you see the picture on the right. Same sunset. Same camera. The pictures were taken only seconds apart. The difference? The picture on the right was taken using manual exposure.

The only difference between these two pictures is that one was shot with automatic exposure, and the other was shot using creative exposure.

Which photo do you prefer? Probably the picture on the right! By choosing a creatively dark exposure, the rich colors in the sunset were allowed to shine through.

However, technically, the photo on the left is "correct," and the photo on the right is "incorrect." The camera saw through the lens and tried to expose the bird so that it wouldn't become a shadow. To me, the photo was not about exposing the bird properly, but exposing the sunset properly. The bird was just a nice shape to include in the foreground. This is exactly why you must learn exposure-because sometimes the "scientifically correct" exposure is not the best exposure to make the photo look how you want it to.

What's next?

Now that you understand why it is so important to take control over the exposure, let's move on to shutter, aperture and ISO-which are the tools you need to control the exposure. Soon you'll understand the basics of how to shoot in manual mode on your camera. I promise shooting in manual mode isn't nearly as scary as you might think.

Once you're ready to deepen your knowledge of manual mode, get tack sharp focus, and master lighting, consider buying my Photography Start Course. It's a series of 22 video tutorials where I walk you step-by-step through the things that it normally takes my photography students two years to learn. Other photography websites sell a very similar course for $300. I've priced it at a REALLY reasonable price because I remember how tight money was when I was a beginner.

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Photo Basics #1: Introduction and Exposure - Improve Photography

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I'm so glad you found your way onto my Photography Basics series. I have taught the basics of photography to millions of photographers around the world through Improve Photography, so I know just exactly how difficult it can seem to learn the basics of photography.

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AIGA: Design Resources - art, articles, ways to connection, news. ect.

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AIGA: Design Resources - art, articles, ways to connection, news. ect.

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Relevant, contemporary, modern. Some functions require subscriptions. Some articles do not

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Resources for Everyone

Get the tools you need to succeed in your career. Explore our collection of resources for freelancers, business owners, design educators, students, in-house designers, and other design professions.

Visit the Resource Collection

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Get the tools you need to succeed in your career. Explore our collection of resources for freelancers, business owners, design educators, students, in-house designers, and other design professions. Visit the Resource Collection

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Phlearn: Youtube (subscription) series teaching photography

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Phlearn: Youtube (subscription) series teaching photography

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Video tutorials in photoshop, lighroom, ect. tools and effects

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phlearn photoshop photography aaronnace adobe tutorials lightroom tips and tricks how to learn free

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PHLEARNing Photoshop will feel like you've got a friend right there walking you through it - and you do! You'll get the most of Aaron's 15+ years of experience in Photoshop, and 10+ years of experience teaching it, to learn the how's and why's of this powerful program.

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AN ART TEACHER'S GUIDE TO A COGNITIVE TEACHING PROCESS: PROMPTING STUDENT'S CREATIVE THOUGHT

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AN ART TEACHER'S GUIDE TO A COGNITIVE TEACHING PROCESS: PROMPTING STUDENT'S CREATIVE THOUGHT

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Creative Photography Project Ideas +Demo Videos

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Creative Photography Project Ideas +Demo Videos

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Painting on Photo, Using water and fire, stitching, folding to make installations. How to videos at bottom!

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Last Updated on April 2, 2023

Students taking high school photography qualifications such as A Level Photography or NCEA Level 3 Photography often search the internet looking for tips, ideas and inspiration. This article contains over 100 creative techniques and mixed media approaches that Fine Art / Photography students may wish to use within their work. It showcases student and artist examples along with brief descriptions of the techniques that have been used. Approaches relate specifically to mixed media photography techniques, technical / trick photography ideas and interesting, fun or unique compositional strategies.

Note: The creative photography ideas listed in this article should not be explored haphazardly within a photography course, but rather selected purposefully, if appropriate for your topic or theme. These approaches may or may not be relevant for your own photography project and should be chosen only in conjunction with advice from your teacher. The techniques listed here are created using a range of different cameras and devices, such as a digital SLR/DSLR camera, traditional camera, pinhole camera and/or camera phone.

Wrap torn plastic or other materials around the edge of your camera to create hazy edges, as in the photographs of Jesse David McGrady (via PetaPixel):

Use a hand-held glass lens or prism, to create blurred, abstract forms, like this photograph by Sam Hurd:

Deliberately unfocus lights to create 'bokeh', as in this beautiful landscape by Takashi Kitajima:

Photograph scenes through visible hand-held lenses, as in this A Level Photography work by Freya Dumasia:

Abstract an image completely through three mirrors, creating a vortograph, like Alvin Langdon Coburn:

Fold a photograph and make a installation, still life or sculpture, as in this example by Joseph Parra:

Collage mixed media materials onto images, as in Vasilisa Forbes' photography:

Splash, smear or throw mixed media upon photographs, as in this A Level Photography sketchbook example by Jemma Kelly:

Simulate the effect of the wet collodion process used by Sally Mann via Edwynn Houk Gallery:

Paint developer sporadically onto photo paper to expose only parts of the work, as in these portraits by Timothy Pakron:

Paint directly onto photographs, as in these works by Gerhard Richter:

Combine paint and photographs digitally, like Fabienne Rivory 's LaBokoff project:

Redraw part of a scene with paint, as in these works by Aliza Razell:

Paint onto objects and then photograph them, as in this IGCSE Photography piece by Rachel Ecclestone:

Mark or scratch negatives or photos, as in this 100 year old vintage print by Frank Eugene:

Use a CNC or Laser Engraving Machine to etch a photographic image onto glass, wood, aluminium or another similar material:

As technology progresses, it is possible for digital images to be engraved upon various surfaces (such as stone, timber, fabric or leather); on or within glass, as in a 3D crystal engraving; or around cylindrical items, such as a rotating bottle. A laser is used like a pencil, with a controlled beam moving in different directions, intensities and speeds, delivering energy to the surface, heating up and vaporises areas or causing small pieces to fracture and flake away. Although the majority of laser photo engraving examples online seem to be uninspiring commercial shots, laser engraving offers new possibilities for high school Photography students - not just in terms of printing images onto exciting materials, but as a way of creating a textured plate which can then be printed from. It should be noted that although most high school Art Departments are not in a position to purchase a 3D laser engraving machine to experiment with (although this may change in the future) some Design and Technology Departments are beginning to. Many companies also offer a custom laser engraving service that students may make use of. Remember that those who must post work away for assessment are not able to submit heavy, bulky or fragile pieces (such as laser wood engraving or laser engraving on glass).
Use an ink transfer method to print photograph images onto other materials, as in this video by Crystal Hethcote:

This video shows a simple image transfer technique using gel medium, which could be useful for applying a digital image to any number of creative surfaces.
Add sculptural elements that protrude from the photograph, as in this example by Carmen Freudenthal & Elle Verhagen:

Take photos using a scanner, like Evilsabeth Schmitz-Garcia:

Place objects on top of a photograph and scan it, like this example by Rosanna Jones:

Put objects on top of photographs and rephotograph them, like these images by Arnaud Jarsaillon and Remy Poncet of Brest Brest:

Project images onto textured surfaces and rephotograph them, as in these experimental images by Pete Ashton:

Project images onto people or scenes, as in these examples by freelance photographer Lee Kirby:

Create a photogram, as in this example by Joanne Keen:

Create pinhole photography, making your own pinhole camera from scratch like Matt Bigwood (via The Phoblographer):

Note: some teachers purchase a make-at-home pinhole camera set for their students, such as this one from Amazon US or Amazon UK (affiliate links). Matt Bigwood 's DIY pinhole cameras are made from ordinary aluminium drink cans:

Deliberately overexpose a shot, creating 'high-key' photography, like this portrait by Gabi Lukacs:

Experiment with underwater photography like Elena Kalis:

Use a homemade light box to create uncluttered backdrops for photography, as in this YouTube video by Auctiva:

Art teachers and students frequently take photographs upon cluttered classroom tabletops, often with less than optimal lighting conditions. Light box photography can be especially useful in this situation, helping those who wish to create professional product shots (Graphic Design students creating promotional material, for instance) or those who want to photograph sculptural or design pieces, create composite works from several elements or just to have a simple backdrop for their images. Tabletop photography becomes infinitely easier when you can light a subject well, and capture true colour and details, in a reliable, uniform way. If you are looking for other less time-intensive tabletop photography ideas or backdrop ideas, it is possible to purchase inexpensive light box kits and light tents from Amazon.com and Amazon UK (affiliate links).
Experiment with camera filters, like the neutral density filter that was used to photograph this beautiful seascape by Salim Al-Harthy:

Use specialised photography lighting to achieve dramatic contrasts, as in this portrait of two brothers by dankos-unlmtd:

Use a transportable photography reflector (i.e. this one from Amazon.com or Amazom UK - affiliate links) to create better lighting within your shots, such as in this outdoor portrait by Toni Lynn:

Take unfocused shots and create semi-abstract photographs, like those by Bill Armstrong:

Create 360 degree 3D panoramic photography, as in this image by Nemo Nikt:

Use kites to create aerial photography, as in this image by Pierre Lesage:

Produce High Dynamic Range Imaging (HDR Photography), as in this example by Karim Nafatni:

Use tilt-shift photography to make real things look miniature, as in this example by Nicolas:

Use a tilt-shift effect to make paintings or drawings appear real, as in these photographs of Vincent van Gogh artworks by Serena Malyon:

Photograph things with extreme macro lenses, like these photos of water drops by Andrew Osokin:

Photograph things without contextual information, so objects become almost unrecognisable, as in this example by Peter Lik:

Take photos from uncommon or unexpected viewpoints, like these birds eye view photographs commissioned by the human rights organization Society for Community Organization:

Use frames within frames to create intriguing compositions, such as these photographs by Chen Po-I:

Emphasise reflections, rather than the objects themselves, as in the urban landscape photography of Yafiq Yusman:

Play with shadows, like Russ and Reyn Photography:

Create illusions using forced perspective, like these photographs by Laurent Laveder:

Arrange compositions as if they were a beautiful still life painting, such as these food photographs styled by Maggie Ruggiero and photographed by Martyn Thompson (left) and Marcus Nilsson (right):

Create candid documentary photography, like these emotion-filled black and white football fan shots by Christopher Klettermayer:

Capture the same scene at different times, as in this photography series by Clarisse d'Arcimoles:

Use mirrors to create illusions, as in this self-portrait by 18 year old photographer Laura Williams:

Create a complex 'unrealistic' setting and photograph it, as in this composition by Cerise Doucède:

Collect many similar items and produce typology photography, like Sam Oster 's apparatus series:

Organise subject matter into patterns, like Jim Golden:

Digitally create patterns, as in this artwork by Misha Gordin:

Overlay multiple photos from slightly different angles, like these experimental photographs by Stephanie Jung:

Digitally erase parts of objects, as in this A Level Photography work by Leigh Drinkwater:

Colour select areas, as in this example by Locopelli:

Apply a digital filter to create an illustrative effect, as shown in this Adobe Photoshop tutorial:

Digitally overlay textures onto photos, as illustrated in this tutorial by PhotoshopStar:

Digitally draw over photographs, as in these portraits by May Xiong:

Digitally superimpose photographs onto other products, as in these watches by John Rankin Waddell:

Digitally merge images to play with scale and create fantasy scenes like Lorna Freytag:

Combine objects in unexpected ways, to create something new, as in Carl Warner's foodscapes:

Overlay tracing paper, obscuring parts of an image, like this photograph by Gemma Schiebe:

Cut through photographs to expose other layers of photographs below, as in these images by Lucas Simões:
Note: If you are interested in laser cut work, you may wish to see the excellent A Level Art project by Lucy Feng, which has been featured on the Student Art Guide.
Create layered handmade collages, like these works by Damien Blottière:

Cut out shapes and insert coloured paper, as in these photographs by Micah Danges:

Collage photographs and found materials together, creating mixed media art like Jelle Martens:

Make a photomontage, as in these examples by David Hockney:

Make a photographic assemblage combining foreground, middleground and background, as in this example by Matthew Chase-Daniel:

Photograph a single scene over time and join the pieces in sequence, like these composite photographs by Fong Qi Wei:

Cut and Overlap a sequence of photos to create a sense of movement, as in this A Level Photography project by Harriet James-Weed:

Combine multiple exposures to create the illusion of repeated objects, like these creative compositions by Lera:

Superimpose two different but related scenes over the top of each other, like in this photograph by Adam Goldberg:

Photograph an artwork within a scene to create illusions, as in these images by Gregory Scott via Catherine Edelman Gallery:

Add photography cuttings to real life situations, like the surrealist scenes created by Yorch Miranda:

Inset scenes within other scenes, as in these photographs by Richard Koenig:

Poke or cut holes in photos and shine light through, like Amy Friend:

Photograph scenes through small gaps or holes, as in these photographs by Reina Takahashi:

Experiment with night photography and create a light painting or drawing, as in A Level Photography example by Georgia Shattky:
Note: If you are interested in light painting you may also wish to view this high school NCEA Photography project by Jessica Louise. Jessica uses a range of night photography techniques, including using a laser to paint with light.
Use a fast shutter speed to freeze motion, like the action photography of Justin Grant:

Move the camera horizontally, so a moving subject is in focus but the background is blurred, as in the panning photography of Mr Bones (via My Modern Met):

Use slow shutter speeds to create blurred movement, as in this beautiful water photo by Antti Viitala:

Zoom in while shooting with a slow shutter speed, like A Level Photography student Freya Dumasia:

Experiment with slow shutter speeds at night, blurring lights, as in the abstract 'Sightseeing Tunnel' series by Jakob Wagner:

Photograph slow moving objects over a long period of time, as in this photograph by Paul Schneggenburger:

Swing the camera while taking photos to achieve a swirling effect, as in this photo by Lucasbenc:

Shake or jiggle the camera to create an impressionist effect, like these examples by Gerald Sanders (via Apogee Photo Magazine):

This collection is a work in progress. It is continually updated with creative photography ideas and examples. If you are looking instead for photography theme ideas or project ideas for your entire high school or college photography course, please read our article about how to select a great subject or theme for your Art project.

You may also wish to view our collection of Featured Photography Projects by high school students from around the world.

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A collection of photography ideas, mixed media techniques and creative compositions to inspire photography students.

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Hands-On Learning (resources inside!), Unconventional Materials, Changing Room Layout, Sample Group Discussion Questions (great)

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https://cassiestephens.blogspot.com/2016/02/in-art-room-super-hero-selfies.html

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https://my-how-to-draw.com/

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Artist that ceramics coral reefs to bring attention to their threatened ecosystem; art advocacy 

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Artist that ceramics coral reefs to bring attention to their threatened ecosystem; art advocacy 

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https://www.theartofed.com/2017/02/02/perfect-project-teach-students-art-activism/

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ceramic sculptor visualizing climate change through the fragile beauty of coral reefs

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Artists that deals with pixels, optical illusions, and more

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Artists that deals with pixels, optical illusions, and more

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After The Mona Lisa 1, 2005. 425 spools of thread, aluminum ball chain, stainless steel hanging apparatus, clear acrylic viewing sphere, and metal stand, 29 x 21 in.

page 48

After Dali, After Harmon, 2003-04. Chenille stems and mixed media frames, installation view.

Art is primarily a visual medium, yet most artists take the experience of sight for granted. Devorah Sperber does not. The New York-based artist probes the optical, social and historical reasons for why we see what we see. Sperber takes well-known images that are widely reproduced and represents them in an original sculpture which must be appreciated visually in order to be understood. In this way, she undermines the process Walter Benjamin claimed corrupts art's authenticity and kills its 'aura' in the age of mechanical reproduction.

In practice, Sperber's work functions on three interrelated levels simultaneously. From a distance, her works are attractive abstractions. Up close, her unexpected materials (pen caps, brightly coloured pipe cleaners and spools of thread) are endearing and playful. But only when her images are seen through the optical devices she includes in their presentation does the provocative final layer emerge and the image it represents become clear. Through this evolution, a process that can not be summed up through mundane reproduction, Sperber successfully disrupts and then refocuses our perception of familiar images; forcing us to reconsider how we interpret visual information and how we look at art. In a 2004 solo exhibition at the McKenzie Fine Art gallery, Sperber recreated Hans Holbein's iconic 1533 painting, The Ambassadors, by using thousands of chenille stems stitched into a circular rug. The sculpture seems like a drab piece of modernist decoration until Holbein's image, known for its own anamorphic trick, becomes visible in the cylindrical mirror cutting through the rug's centre. This combination of references and affects challenges our expectations of both the neutral sculptural form and the famous painting itself, enlivening and refreshingly connecting them.

Similarly, in a 2001 group show at the James Graham and Sons gallery curated by Valerie McKenzie, Sperber presented Lie Like a Rug (2000-2001), 18,000 pen caps pushed into a curving flexible canvas, whose Persian rug pattern emerged when the sculpture was seen through a nearby convex mirror. Like the Holbein piece, this sculpture initially disassembles and then convincingly restores the complicated heritage that summons commonplace images into view.

"The Eye of the Artist: The Work of Devorah Sperber," an exhibition featuring full-scale re-creations of Leonardo's Last Supper and Mona Lisa, will be shown at the Brooklyn Museum of Art in 2007.

page 49

Reflections, 2003-04. 60,000 spools of thread and 23 convex mirrors, each wall 10 x 60 ft. View of work installed at the Centro Medico Train Station, San Juan, Puerto Rico.

Ana Finel Honigman: How does the process of visually dissecting and reconstructing historical works of art affect your relationship to them as a viewer?

Devorah Sperber: My artistic process is highly compartmentalized. It includes countless hours of research, planning and preparation, which affect my relationship to both the historical work and the resulting new work. Once assembly begins, I'm already finished in a sense, with most of the decisions and problem solving behind me. At this point I have such a clear vision of the completed work in my mind, that when I first see the finished work, I have a strange sense of Déjà vu." This was particularly poignant when I recently installed "Reflections," a large-scale commissioned work constructed from 60,000 spools of thread, in a train station in Puerto Rico. After working on the project for 15 months, I could not see it with "fresh eyes" and had to assess the work by gauging other people's responses to it.

AFH: How do you think this experience would differ if you were appropriating these works in paintings or collages instead of translating them from two-dimensional images into sculpture?

DS: I don't think of my series based on historical works as appropriation. The catalyst was a site-specific installation, "Quartered, Flipped, & Rotated" (2004), which I developed for the Montclair Art Museum two years earlier. Curated by Patterson Sims, the installation was based on the museum's iconic Edward Hopper Painting Coast Guard Station (1929) and connected the museum's collection of American and Native American holdings. My decision to use other historical works as subject matters evolved from my interest in the link between art and technology through the ages, and my own working processes, which utilize technologies of our era--the computer, optical devices, and mass-produced objects. The selected historical works have significant links to science or technology (some well known, others obscure). I focus on those aspects when translating images into new sculptural works.

AFH: How are you defining appropriation and how does your use of pre-existing imagery differ?

DS: In the context of visual art, I define appropriation as "art about art." My work focuses on the intersection of art, science, and technology and their influence on "the art of seeing." AFH: What is the "art of seeing?" Do you mean the way viewer interpretation affects the meaning of a work?

DS: I am interested in how the human brain makes sense of the visual world and "reality" as a subjective experience. As a visual artist, I cannot think of a topic more interesting and yet so basic than the "art of seeing."

AFH: Your series After Dali, After Harmon 1, 2003-2004 was inspired by a known experiment on optics and memory. Can you describe the particulars?

DS: This series was based on a Salvador Dali painting from 1976, which was based on an early pixilated image created by Leon Harmon of Bell Labs. The original black and white image was included in an article in a 1973 issue of Scientific American, titled "The Recognition of Faces." The image and the experiment was a demonstration of the minimum conditions needed to recognize a face. Through the use of incremental cropping and changing scale, the series "After Dali, After Harmon" takes it one step further. When seen in its entirety, the series functions as a neurological primer, literally priming the brain to make sense of visual imagery, which is only recognizable when seen in the context of the greater whole.

page 50

Shag Rug 165,000 (After Pollock), 2002. 165,000 2-in. chenille stems and foam board, 96 x 192 x 3 in.

AFH: How does your work relate to the experience of seeing in contrast to say, a painting dealing with similar issues, such as a Chuck Close's grid portrait?

DS: Chuck Close's grid portraits are installed in a traditional way, first offering viewers an overview of the portraits from a distance, with the image gradually dissolving into abstract cells as they move closer. My large-scale works reverse this traditional process of viewing art, bypassing the overview or macro-perspective and offering in its place an incomprehensible micro-perspective of individual units (such as spools of thread) devoid of recognizable imagery. Viewers experience a dramatic moment of surprise when they become aware of the macro-view, visible only with the aid of small optical devices. This element of surprise, best described as the "WOW" experience, is the result of temporal lobe activation, which occurs when the external world does not jive with the brain's inner expectation.

AFH: What issues arise from offering the experience of seeing the same thing in two separate and distinct ways through the use of sculptural elements?

DS: Offering two distinct versions of reality illustrates the limitations of visual perception and presents reality as a subjective experience vs. an absolute truth. It demonstrates that the visual world, as perceived by the human eye and brain, consists of a miniscule layer of scale-based perception existing within infinite layers of imperceptible realities.

AFH: What do you think of how your sculptures appear in photographs?

DS: It is difficult to accurately portray my work with a single photographic image. I generally prefer a combination of images: a close-up view, a full installation view, and/or a view of the work as seen reflected in an optical device. Sometimes, a mid-range view is necessary to link the micro and macro views, especially when people have not seen my work in person. The size of the photograph is also important as it affects whether the focus is on the full recognizable image or on the individual units.

AFH: How do you select the images you reference?

DS: My initial interest in any subject matter is intuitive. I then conduct research to access whether the subject matter has enough interesting layers to justify producing a work based on it.

AFH: When you say "layers" are you referring to content, like the potential socio-political content in a mass-produced oriental carpet or the historical content of a famous painting or are you describing visual variety?

DS: Selecting my subject matter is a complicated process. After I find a group of images that appeal to me on an intuitive level, each image undergoes a rigorous justification process. I am looking for a reason to pursue one idea over others.

AFH: Does the familiarity viewers might have with a work affect the way you conceptualize and contextualize it?

DS: Most of my work is accessible to both the art-going and general public. However, in some cases, if viewers are familiar with the subject matter, they will likely appreciate additional layers of meaning. For example, viewers familiar with Jackson Pollock's work will appreciate the humor intended in recreating a drip painting using 165,000 pipe cleaners. What they may not know is that in each successive drip painting, Pollock created higher and higher ratios of fractals, before fractals were recognized as existing in the natural world. This was a deciding factor in using Pollock's Autumn Rhythm as a subject matter.

page 51

2003-04. Chenille stems, mixed-medium platform, and polished stainless steel cyinder, 76 x 76 x 31 in. After Holbein, After Holbein (skull), 2003-04. Chenille stems and mixed-media frame, 18.5 x 103 x 2 in.

AFH: How do you feel the meaning or significance of an image changes when it is frequently reproduced?

DS: Reproductions of historical works can become inaccurately fixed in the mind's eye. Take the Mona Lisa for example, perhaps the most famous painting in the world. Most people have seen a reproduction or a "reproduction of a reproduction," but only a small percentage of those people has actually seen the painting in person. I suspect most people are surprised when they see the original painting and experience the relatively small scale (30 x 20 7/8") and the subtle effects of Mona Lisa's elusive smile. I am currently working on a life-sized rendering of the Mona Lisa. Constructed from only 425 spools of thread, the image resolution will be extremely low. Yet when seen with an optical device, the thread spools will condense into a blurred yet recognizable image, conveying how little information the brain needs to make sense of visually imagery, like Harmon's pixilated image of Lincoln. Another larger thread-spool work will reintroduce an aspect of the original painting which is absent in most reproductions-the effects of spatial frequencies on vision as it relates to Mona Lisa's elusive smile. These works will debut in Ljubljana, Slovenia, in June 2005 in an exhibition curated by Marilyn Kushner of the Brooklyn Museum of Art, who is interested in the intersection of digital technology and printmaking.

AFH: What are the differences for you between creating a work from the image of a factory-made carpet versus reconfiguring Holbein's The Ambassadors?

DS: I don't see a significant difference. Both works have links to technology. "Lie Like a Rug" was inspired by a rug which has been in my family since the 1950s. My research uncovered an interesting technological fact about the origin of that particular rug pattern. Although it looks like a hand-made Persian rug, the pattern is modeled after the world's first power-loomed rug manufactured by Karastan in the USA continuously since 1928.

AFH: And the Holbein?

DS: Two works titled "After Holbein" were based on Hans Holbein's painting The Ambassadors (1533). In order to create the elongated skull, Holbein either utilized anamorphic perspective, a mathematical technology invented by Leonardo da Vinci, or an optical device as suggested by David Hockney in his book "Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters." These works debuted at McKenzie Fine Art, NYC in 2004 in an exhibition that included a thread-spool work based on Vermeer's presumed use of the camera obscura and the series "After Dali, After Harmon". All of these works have a significant link to technology.

AFH: How has your process changed since when you began using technology in your work?

DS: At the beginning, I spent weeks translating images into individual units of color. I now have a custom software program that reduces the time I spend at the computer and allows me to spend more time in the studio.

AFH: As your work demonstrates, science and art are closely linked, and always have been, yet there is a general assumption that science is not creative and art is not as "serious". Why do you think there is still a division perceived between science and art?

DS: The modern division of art and science may be the result of technological advancements and resulting job specialization. Intuition/creativity and awareness of the world play important roles in both art and science. If there is a perception that art isn't as serious as science, it may be due to science's more tangible value to society.

AFH: So, you are focusing on seeing as it functions biologically instead of intellectually, since one could argue that the subjective experience of seeing is determined more by experience, information and assumptions than optics?

DS: I like the holographic model of reality in which raw perceptual data is input, filtered, and organized by the brain to create a holographic illusion of a solid, predictable universe. Our understanding of what we see is based on the holographic model we have built to date. Using this model, brain biology and function are interconnected.

page 52

VW Bus: Shower Power, 2001. 60,000 colored film stickers on vinyl shower curtains, aluminum hanging apparatus, and convex mirrors, 80 x 63 x 136 in.

AFH: Would you say that you approach the actual act of making your sculptures scientifically?

DS: My approach to research and development can be seen as scientific but the actual assembly process is totally meditative. Assembly is my delayed gratification for the countless hours spent thinking, researching, planning, and problem solving. Life doesn't get more simple then declaring "I will complete X number of rows today" and having the wherewithal to do it.

AFH: Why do you often select mediums that are often banal or playful in their origins, like thread or brightly colored pipe-cleaners?

DS: The contrast between subject matter and medium adds another element of surprise to the work. In general I select materials based on their aesthetic qualities, intrinsic characteristics, availability, and the range of colors. I place equal emphasis on the "whole" recognizable image and how the individual parts function as abstract elements.

AFH: Yet, sometimes your materials conceptually compliment your subject matter like when you crafted a life-size replica of a 1967 VW bus using over laser-cut 60,000 flower-power stickers, hand-applied onto clear vinyl shower curtains. At other times, your choice of material and scale is highly incongruous. What determines whether you want your medium to contrast or reinforce your subject's symbolism?

DS:"VW Bus: Shower Power," a life size, 3D rendering of a 1967 VW Bus, was inspired by my long-standing love of VW buses and my own retro VW Bus. My choice of medium, 60,000 flower-power stickers applied onto clear vinyl shower curtains, was inspired by the common description of a VW Bus as a "box on wheels." When viewed up-close, the translucent flowers in the foreground fade in and out of recognition as the eyes shift focus from the front panels through to the rear panels on the opposite side of the bus. The end result is an image of a VW Bus that is there yet not there, solid yet transparent, present yet fleeting, not unlike the ideals of the 60s in the minds of many Baby Boomers today.

AFH: What was it about the myth of the 1960s that inspired that exhibition?

DS: "Bikinis, Bandanas and a VW Bus" debuted at Graham Gallery in NYC in March 2002. The concept was based on the continuing presence of cultural icons from the 1960s and 70s. As David Brooks has noted in his book, Bobos in Paradise, these icons continue to have a strong presence in contemporary culture due to the influence of "Counter-Culture Capitalist" baby boomers now in positions of power as CEOs, advertising executives, and designers.

AFH: How did you try to represent the tensions between 1960's ideology and the current aestheticization or commercialization of those beliefs?

DS: The bikinis and bandanas were constructed from thousands of maptacks inserted in clear vinyl, and have an undulating, cloth-like appearance from a distance and a surprisingly menacing quality up close. At first glance, all of the works appear to be 3D but on closer inspection, some are actually 3D while others are entirely flat. The bikini patterned as the American flag first emerged in popular culture during the 1970s. Seen today, it can be read as either patriotic or subversive depending on the direction of the maptacks which face inward on some bikinis and outward on others and also, of course, on the perspective of the viewer .

Ana Honigman is a critic and PhD candidate in art history at Oxford University

page 53

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Sculpture Magazine, Feature Article, "The Art of Seeing: A Conversation with Devorah Sperber, by Ana Honigman, May 2006 issue

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After The Mona Lisa 1, 2005. 425 spools of thread, aluminum ball chain, stainless steel hanging apparatus, clear acrylic viewing sphere, and metal stand, 29 x 21 in. page 48 After Dali, After Harmon, 2003-04. Chenille stems and mixed media frames, installation view.

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El Anatsui is a Ghanaian sculptor active for much of his career in Nigeria. He has drawn particular international attention for his iconic "bottle-top"

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Art Competitions, Contests, and Juried Exhibitions

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Art Competitions, Art Contests, Juried Exhibitions, Art Exhibitions, Art Deadlines, Call to Artists, Call for Entries

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Great Hook. Lots of facts/details and goals for activities. Encore School of Arts Riverside

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Idea: Consider looking up articles about pdates about visual sharing media - Digital Age literacy + Concept of privacy

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Idea: Consider looking up articles about pdates about visual sharing media - Digital Age literacy + Concept of privacy

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Privacy is a relative term in the age of social media where oversharing is the norm. But, digital creepers (myself included) still expect a certain level of anonymity when screenshotting photos of crushes or other things we like. But, people can see when you screenshot their Instagram posts - at least, depending on the type of post. So does this mean the Wentworth cast can see the eleventy million screenshots I've taken of the their personal photos? Not exactly.

With the host of new features Instagram has released over the past year, including stories, gallery photos, live videos, and hashtag stickers, it can be hard to keep up. You might already know that Snapchat sends a notification to users when someone else takes a screenshot of their snap. In recent months there has been a flurry of rumors, and outright panic, that Instagram is doing the same thing.

The level of freak out proves that many people don't want their secret social media screenshot behavior made public. So, what do you need to worry about? The good news is that Instagram does not send users a notification if you screenshot their posts, whether they are gallery photos, single photos, stories, or videos. Phew.

However, if you screenshot a disappearing photo or video sent via direct message the user who sent you the DM will get notified.

The good news here is that you likely are friends with anyone who is sending you a DM so they won't think you're weird for taking a screenshot, but they will however get notified. In general, if you are planning to repost a screenshot it's best to use a reposting app instead so you can credit the owner of the image.

You can relax in the knowledge that all of your truly secret screenshotting habits are still private; just be mindful of getting too screenshot happy with disappearing photos or videos in your DMs if you don't know the person sending you the DM.

After all, the internet is still a bit like the wild west, and things can change so quickly it can be hard to stay on top of all of the new features in the virtual world. But, for now, I'm glad my crushes on Wentworth aren't getting notified about my excessive screenshotting, unless of course they're reading this article.

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Can People See When You Screenshot Their Instagram Posts?

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Privacy is a relative term in the age of social media where oversharing is the norm. But, digital creepers (myself included) still expect a certain level of anonymity when screenshotting photos of crushes or other things we like. But, people can see ...

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http://www.incredibleart.org/jobs/openings.html

International- Primary up to college

Jobrapido - With art teaching jobs in the UK.

Axcis - Education Recruitment site for the UK

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Technology (Elementary): Mystery Science 

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Technology (Elementary): Mystery Science 

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K-5. Includes videos/prep to talk teacher through very cool science lessons, all videos to teach it and walk students through an activity. Assessments and all handouts included!

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Open-and-go lessons that inspire kids to love science.

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Mystery Science offers open-and-go lessons that inspire kids to love science. The hook, visuals, and activity have all been prepared for you. Less prep, more learning.

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Great for brain breaks. Makes movement and mindfulness an integral part of the day. Make sure to demo it for yourself first to make sure it's age appropriate

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Great for rotations to help learn a language. Can set daily goals based on time. 100% free!

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If the problem continues, contact the site owner.

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Camera and Digital Animation is free. $230 for up to 3 teachers annually. Training videos and links to try to get funding

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BrainPOP - Animated Educational Site for Kids - Science, Social Studies, English, Math, Arts & Music, Health, and Technology

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Make quick drawings for presentations, flyers, ect.

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Students can select own lexicon level for the articles (including News!) and even follow writing prompts or take quizes. PRO for detailed summaries

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It's time to improve literacy skills during social studies instruction and ensure that readers of all abilities have what they need to access grade-level social studies concepts.

Join us on Thursday, December 7 for a look at scaffolded materials that provide extra literacy support while building key social studies concepts and skills.

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Newsela | Content and assessment platform

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Content Aligned To National & State Standard, Flexible To Support Relevant Curriculum. Find the Perfect Piece Of Content For Lessons. Go beyond the book.

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Education Week American Education News Site of Record - Education Week

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Find breaking news, analysis, and opinion on K-12 education issues affecting school and district leaders, teachers, policymakers, and ed-tech professionals.

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Resources: Incredible Art Blogs and Podcasts

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Resources: Incredible Art Blogs and Podcasts

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See a comprehensive list of blogs and podcasts relating to art education, the fine arts, artists, art news, and galleres.

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Resources: Incredible Art Blogs and Podcasts

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Resources: Incredible Art Blogs and Podcasts

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Resources: Teacher Vision for Art Teachers - Printable, references, activities ect. (6.99 Month)

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Resources: Teacher Vision for Art Teachers - Printable, references, activities ect. (6.99 Month)

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An extensive list of free lesson plans, printables, activities, quizzes, and references

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Resources: Art Ed 2.0 - Connect to other teachers, art ed forums, current projects

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Resources: Art Ed 2.0 - Connect to other teachers, art ed forums, current projects

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This resource is an open source online community connecting art teachers around the globe. Once a teacher creates a free account, users can participate in forums, groups, comment on blogs, and share photos and videos. Art Education 2.0 is great for teachers wanting to share and collaborate on projects designed for students.

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An online professional learning community of art educators.

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Video: Childhood, Process, finding the one thing that works in the pile of everything else that doesn't

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Video: Childhood, Process, finding the one thing that works in the pile of everything else that doesn't

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Evgenia Arbugaeva: Returning to my Childhood | ArtBabble

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"Tiksi" though is much more than the personal hunt for a lost childhood. Since 1991, the year, Evgenia Arbugaeva and her family left the town of Tiksi, the Russian Arctic has changed dramatically. Once a symbol of Soviet ambition to conquer the arctic, the town of Tiksi today is nearly abandoned, the number of inhabitants has been reduced from 12.000 to 4.000.

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Resources: ArtBabble: Explore by Themes, Medium, Periods & Styles 

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Resources: ArtBabble: Explore by Themes, Medium, Periods & Styles 

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Great collection of videos!

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12 Calming Seascapes - Google Arts & Culture

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It's a scientific fact that our brains are hardwired to react positively ...

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Resources - Google Art: Explore by COLOR, Time, Artists, Art Movements, Historical Events, ect. 

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Resources - Google Art: Explore by COLOR, Time, Artists, Art Movements, Historical Events, ect. 

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Resources - Google Art: Overview - Museum Tours

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Resources - Google Art: Overview - Museum Tours

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The Art Project features interior tours of seventeen world famous art museums. Simply select a museum from the list on the homepage and you can virtually tour it using the same interface used in Google Maps. The website also offers an option to create your own art gallery while visiting each museum. You can see works of art in greater detail, add to your collection, and open background information about each piece with just a few clicks of the mouse.

You can also explore by COLOR, TIME,

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pst: 29.99 monthly for "pro" access

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Art educators have to deal with a lot of issues, so we've created topics that will help you find what you're looking for. Each one covers a different area relevant to art teachers today so go ahead and explore them.

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Technology Strategies: Padlet in the classroom

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Technology Strategies: Padlet in the classroom

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Great overview going over all the looks, applications, and options

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Technology Strategies: Word Cloud with Poll Everywhere

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Technology Strategies: Word Cloud with Poll Everywhere

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Students can text directly without creating an account for anonymous polling (word bubbles, open ended, multiple choice ect.)

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Use word clouds live and anonymously to start honest discussions

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Date:April 20, 2017 Author: Rebecca Kerr Categories: Higher-ed, K-12

There's something special about building a live word cloud together with your students.

Word clouds can be more than a static image you prepare the night before class. They can be living, dancing pictures whose words capture students' ideas and emotions live, in the moment.

The following education word cloud examples were created using Poll Everywhere, a classroom response system that lets students submit responses on their phones and other web-enabled devices. These responses appear in real time for everyone to see.

You'll notice some of the examples below come from the many teachers and educators who post their education word cloud activities on Twitter.

I always love seeing the creativity - and unusual responses - these word clouds receive. If you try any of these examples in your own class, free free to show off the results on Twitter. Don't forget to tag us @polleverywhere.

1. Icebreakers kickstart student engagement

The first week of class is a great time to dive in with a quick icebreaker question, and word clouds get the job done better than any other question type. Make it as meaningful or nonsensical as you like - just be sure to write the question in a way that gets you a one-word response. One-word responses always work best in word clouds.

What is your North Star? (via @TonyAPLC)

Who makes the best coffee?

What's the best thing on Netflix right now?

What's your favorite weekend activity (one word)?

2. Encourage sincerity to form new connections

Help students connect with each other over questions that bring up shared experiences, opinions, and emotions. Seeing how their peers respond gives students a way to relate to one another in class.

Who has had the most impact on your life?

What's your biggest goal for the year, in one word?

What is your WHY for attending this session today? (via @EdTech_Beard)

What character trait do you look for in a new friend?

Use the responses as a jumping-off point to talk about the things that make students unique, and also completely normal. Invite students to elaborate on their responses. After sharing something personal in the anonymity of the word cloud, students often feel empowered to discuss personal topics out loud.

3. Help students reach a consensus as a group

This is an education word cloud activity that can last the entire class period, or longer.

Open with a broad topic, such as: "What was the biggest contributing factor to the fall of the Roman republic?" Students then posit their one-word hypotheses in a word cloud. After that, break the students into small groups to research the topic further.

Have students use the 'clear response' button (or text 'undo' if they're responding via SMS text messaging) to update their former answer as they learn new information. Gradually, words in the word cloud will start to merge, until two or three answers outsize all others. You might even end up with a single word on display.

Finally, ask students to defend or refute responses out loud. I've seen educators use this activity for math and science classes, and it's satisfying to watch a screen full of numbers slowly morph into a single numeral (assuming it's the right one, of course).

4. Summarize topics to develop understanding

Challenge students to demonstrate their understanding of a broad topic by summarizing it in a single word. The is a great word cloud activity for wrapping up a lecture or reading assignment.

What's one word that you associate with religion? (via @JeffGuhin)

How does religious extremism affect India, in a word?

What's the most important word in the US Constitution?

In one word, what did industrialization mean for Europe?

5. Build empathy by checking emotional wellness

It's never a bad idea to check in with students and see how they're coping with the stresses of school, friends, family, and life in general. Many educators find that emotional checkups help them elicit trust, build empathy, and steer class time in a more appropriate direction.

What's your top stress factor right now?

How do you feel about next week's final?

In a word, what do you need most today?

What's your one-word reaction to the semester so far?

6. Quickly visualize brainstorming feedback

Word clouds are the perfect scratch pad for brainstorming solutions with a group of students. Use this activity to kick off a new unit, or to help students find new approaches to an old problem. Depending on your plan, you can set the number of responses per student from one to unlimited.

What's the root cause of cyber-bullying?

What's the best way to prevent heart disease?

How can you make your study time more effective?

What three words come to mind when you think of digital citizenship? (via @MrLands)

7. Ease into deep discussions for genuine responses

There's a phenomenon you'll discover if you regularly use live polling in the classroom. It's called "snowballing vulnerability." The Poll Everywhere presenter who coined the term conducts ground-breaking workshops that train students and employees to have effective conversations about conflict-laden topics, such as global warming and LGBTQ issues.

Here's how it works: Kick off your conversation with a word cloud asking students to how they felt about a past failure. When students see others responding honestly about failure, they will shed the anonymity of the word cloud and speak out voluntarily. It's a powerful moment.

The next time you're anticipating a difficult discussion with your students, open with a word cloud, then move to a longer open-response question, and keep building out from there. Students are more likely to speak openly and honestly when you ease them into these conversations.

Where have you seen discrimination take place?

What parts of your life do you tend to hide from others?

What word best describes your last failed conversation?

Describe your feelings about the 2016 election in a single word. (via @PeterPaccone)

8. Pinpoint a theme to focus class discussion

Bring instant focus to class discussions by asking students to narrow the theme of a chapter, essay, speech, article, book, or poem down to a single word. This is a great way to help students prepare to write their own essays and research papers. It also makes for lively class discussions as students defend their one-word theme submissions.

What's one thing you learned from that article? (via @GinaChomic)

What's the theme of "Letter from Birmingham Jail" in one word?

Describe the central theme of last night's chapter in a single word.

In one word only, what's the overarching theme of "The Sound and the Fury"?

9. Check for gaps in comprehension

Credit for this education word cloud activity goes to @NSmithScholars who uses them to get feedback from her students on what they learned that week. She calls it Flashback Friday, and it gives students a chance to show off what they know, while also signaling information they may have missed and needs additional review.

10. Visualize student reactions en-masse

This can elicit a very emotional response in the right circumstances.

Health ed teacher Andrew Milne used a live word cloud to wrap up a student-to-student Pride presentation. Students in the audience were able to send one-word reactions to the students on the LGBTQ panel - with great success. It was an empowering moment for those on the panel to see words such as "brave", "honest", and "inspiring" grow larger and larger on the screen.

With Poll Everywhere's live word cloud generator, you can capture a snapshot of student reactions to anything: new concepts, current events, special presentations, and more. Just phrase the question to get one-word responses, and you're all set.

Critical discussions start with a word cloud
Give students a safe space to submit and discuss their ideas with Poll Everywhere.

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10 word cloud activities for the classroom | Poll Everywhere

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Date:April 20, 2017 Author: Rebecca Kerr Categories: Higher-ed, K-12 There's something special about building a live word cloud together with your students. Word clouds can be more than a static image you prepare the night before class. They can be living, dancing pictures whose words capture students' ideas and emotions live, in the moment.