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manual, ISO 400, F4.5, 1/100, 25mm

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manual, ISO 400, F8.0, 1/320, 18mm

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manual, ISO 400, F5.6, 1/125

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manual, ISO 400, F5.6, 1/100

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manual, ISO 400, F5.0, 1/80

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manual, ISO 400, F5.6, 1/100

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I believe these photos are successful because of how each one follows the rule of thirds. Also I consider each angle the photos were taken at are unique, which is appealing to the eye. The photos are also all focused clearly on the subject with the correct white balance and exposure.

I chose the subject, an apple, to show the simplicities, yet interesting details of the fruit at multiple different angles.

Some things I would change are the composition of these photos and how the below angle was taken. After reflecting on them, I realize the excessive amount of white-space in each which can be distracting or take away from the overall idea of the subject of the photo.

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manual, ISO 400, F4.5, 1/80, 18mm

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manual, ISO 400, F6.3, 1/160, 23mm

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I choose the photo framing emilee because of the way the colors flow together and how simply the window frames her without seeming staged.

I choose the photo with the purple hue because of what went into taking the photo; I placed my camera against the outside window opposite of the booth looking in on them. I feel that the perspective is unique.

I choose the photo with the tire because for one the composition is good and it follows the rule of thirds. But also because even though the subject was staged to do that the tire frames her without distracting us from the greater picture.

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manual, ISO 400, F4.5, 1/80, 25mm

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manual, ISO 400, F8.0, 1/250, 18mm

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manual, ISO 400, F3.5, 1/30, 20mm

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I choose the photo of the wine glass because the way the background fades to a blur without distracting the audience from the focal point of the photo.

I choose the photo of the window because of the monotone vibe it gives, the subject being just the window with a brick wall on the side.

I choose the photo of the colored pencils in a mason jar because of the focus of the subject and how simple it is displayed with a plain background.

I feel that these photos are successful because each subject is different and unique. Each photo demonstrates good composition with a clear subject, ultimately accomplishing the goal of simplicity.

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manual, ISO 400, F7.1, 1/200, 18mm

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manual, ISO 400, F8.0, 1/250, 18mm

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manual, ISO 400, F5.6, 1/125, 18mm

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manual, ISO 400, F7.1, 1/200, 21mm

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monochromatic: manual, ISO 400, F8.0, 1/500, 21mm

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analogous: manual, ISO 400, F9.0, 1/320, 55mm

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triadic: manual, ISO 400, F8.0, 1/250, 18mm

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complementary: manual, ISO 400, F8.0, 1/200, 29mm

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When taking portraits key lighting makes or breaks the photo so it is important to consider these two characteristics: direction, which controls the location of shadows and highlights on the subject, and apparent size, which controls the appearance of these shadows and highlights. Harder light is typically smaller in size with abrupt shadows and highlights. Softer light is typically larger in size with gradual shadows and highlights. Hard light comes from direct sunlight or flash, whereas, soft light comes from overcast-shade or diffused-bounced flash. Pores, blemishes, wrinkles and other facial details all become more pronounced with hard light.

Closer light sources become softer  because this light strikes the subject from a broader range of angles. The opposite is also true: direct sunshine is hard light even though the sun is physically enormous. Closer light sources also illuminate the subject more unevenly, since different parts of the subject will become relatively closer or farther from the light.

Creating the appearance of depth is a key part of capturing realistic-looking portraits.  However, our sense of depth doesn't work very well unless light is striking our subject from the right direction. In addition to the head as a whole, each facial feature also has its own shadows and highlights — all of which deserve special consideration. This might include avoiding making the nose appear larger by having it cast a long shadow, or making the subject appear tired by portraying shadows underneath their eyes. In any case, one generally wants to portray their subject in a flattering light, but each subject is unique and may require a different treatment. any case, one generally wants to portray their subject in a flattering light, but each subject is unique and may require a different treatment. Regardless of the above choices, the key is to envision your artistic intent at the start, and then to adjust your lighting setup to achieve that goal.

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manual, ISO 400, F5.0, 1/160, 18mm

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manual, ISO 800, F9, 1/15, 18mm

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manual, ISO 800, F9, 1/13, 18mm

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aperture priority, ISO 800, F14, 1/250, 18mm

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aperture priority, ISO 800, F10, 1/60, 18mm

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aperture priority, ISO 800, F11, 1/200, 18mm

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aperture priority, ISO 800, F16, 1/50, 18mm

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aperture priority, ISO 800, F10, 1/2500, 18mm

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aperture priority, ISO 800, F14, 1/30, 18mm

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Not 100% happy with the outcome of my photos. But I feel I captured a somewhat interesting portrait to convey the subject's personality while eating.

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White balance is adjusted to get the colors in images as accurate as possible. The reason images sometimes turn out different colors after they are taken is because of the different sources of light have a different temperature to them. The temperature ranges from very cool blue to warm candle light. Since cameras don't have the smarts to make these adjustments automatically, we ourselves have to manually adjust the white balance, depending on the type of light.

auto: the camera makes a best guess on a shot by shot basis.

tungsten: for shooting indoors, such as incandescent or bulb lighting.

fluorescent: compensates for the 'cool' light of fluorescent light and will warm up shots.

daylight: sets things as fairly normal white balance settings.

cloudy: generally warms things up a touch more than daylight mode.

flash: this can be quite a cool light
so in flash WB mode, you'll see it warms up shots a touch.

shade: since shade light is typically cooler than shooting in direct sunlight...this mode will warm things up a bit.

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The main or key light is  the primary and, usually, the strongest light.  It is responsible for providing  shape and form.

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The fill light provides light to "fill in" shadow areas created by other lights.  In general, fill lights should provide an even, non-directional light that adds  little character or shadows of its own.  The fill light is nearly always weaker than the main light.

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Split

Rembrandt

Loop

Butterfly

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shutter priority, ISO 400, F5.0, 1/50, 48mm

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shutter priority, ISO 400, F5.6, 1/50, 55mm

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shutter priority, ISO 400, F5.6, 1/50, 55mm

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shutter priority, ISO 400, F5.6, 1/50, 55mm

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shutter priority, ISO 400, F5.6, 1/50, 55mm

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shutter priority, ISO 400, F5.6, 1/50, 55mm

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basically in a nut-shell this is selling the Coca-Cola product by saying, it's just that good, so you got to share it (2, straws) and if you don't, this happens. (hence Ken's head on the ground.)

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intelligent auto, ISO 125, F4.0, 1/160, 26mm
off-guard smiles in the midst of a chilly fall afternoon.

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intelligent auto, ISO 100, F4.5, 1/400, 18mm
timeless laughter in the sun's endless rays among darkness below.

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intelligent auto, ISO 100, F4.0, 1/200, 18mm
humor from within the depths of a child's soul.

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intelligent auto, ISO 100, F4.0, 1/160, 19mm
merry love & bright joy.

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Henri Cartier Bresson had the incredible ability to capture the perfect moment. I believe his timing is fit to portray the composition of his photos. He follows the rule of thirds and which allows for the viewers eye to follow the story of the photograph. He creates an interesting effect with the subjects of his works. Showing real emotions in his art, he really portrays his subjects in real life situations. Utterly amazing and very inspirational.

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manual, ISO 400, F8, 1/15, 21mm

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I picked this image because of how the shadow dissects the face symmetrically and the contrast.

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I choose this photo because of how the water reflects and distorts the flowers. The tones are soft and the concept to me is interesting.

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the calm beneath the storm

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dream drifting