Thanks for a great semester. I cant wait to see the brilliant work you produce in the future. Good luck and keep in touch.
drea

Click here for a video demonstration of drag and drop timing in Soundslides.

Video tutorial of lower third editing

A video demonstartion of lower third editing, please see this lower third screencast.

This is the Soundslides manual which will answer any question about Soundslides


Quickstart guide
At its most basic, an audio slide show is a series of images timed against an audio track. To create a Soundslides project, you'll need both media types ready.

Your images should be located together, in a folder.

Quickstart
Click the NEW button, and save the project to your computer.
Click the JPG button, and select a folder of .jpg files to import
from your hard drive.
Click the SND button, and select an .mp3 file from your hard drive. Aiff/WAV files can be used if LAME is installed.
The main editing interface should open after the audio and images are imported.
Both the audio and the images have to be imported before the editing window will appear.

Press SAVE to save the project.

Press TEST to launch the working edit into a web browser for preview.

Press EXPORT to write your final files. A directory will open containing all of your slide show's published files.

orignally posted at http://www2.soundslides.com/support/index.php?id=2&pg=kb.book

cool article about BIG SHOT A large scale painting with light project with the help of 1,200 assistants.

PAiNTing WitH LIgHt



[Photo]1.Head north on S 9th St toward Elm St

2.Turn left at Elm St


3.Turn left at MO-163/S Providence Rd


4.Turn left at MO-163
To:Rock Bridge Memorial State Park
5901 S Highway 163, Columbia, MO 65203

Shelter Area [
A paved pathway connects the accessible shelter and a nearby shady picnic site to two handicap parking spaces. The pathway has a maximum slope of 5.8% for 20 feet just before reaching the shelter. The shelter accommodates 60 people and provides a group grill and extended-end tables. The individual picnic site has a pedestal grill and an extended-end table and is adjacent to the area's water fountain. A flush restroom is conveniently nearby for all users. Historic Area
Just up the slope from the shelter is the old Hickam Cabin, which is representative of the architecture in the late 1820s to early 1830s in this area. It sits on a grassy knoll and can best be reached from the office parking lot for visitors who may be restricted by slopes. Access is over natural turf.

THIS IS A REPOST
EVERYONE SHOULD APPLY............THIS IS SOOOOOOO COOL

InFocus is excited to announce that award-winning photojournalist Danny Wilcox Frazier will be coming to Mizzou next Friday, April 25, to run a workshop! What is possibly even more exciting is that YOU can participate... FOR FREE!

Below is a tentative schedule of events- We encourage everyone to come out for the items marked with a *- even if you can't participate.

*8:30-9:50am*
Danny will be giving a lecture and presentation on some of his work in Lee Hills 110

10am
Participants in the workshop will head out to begin shooting

1:30pm
Participants will come back to Lee Hills to discuss what direction they are taking with their subjects and to troubleshoot if necessary

2:30pm
Participants will go back to shooting- Danny will be on-site to observe and offer advice

6:30-7pm
Participants will come back to Lee Hills to download their images

*7-9pm*
Editing and critique

*9pm*
Final Showing

If you're interested in applying- and you should be... did we mention this is free?- there are a few requirements listed below:

You must be a student at MU.
You must be able to devote Thursday evening 7:30 to meet with Danny.
You must be able to devote all of Friday (8:30am-10pm) to the workshop.

To submit your application:
Go to http://www.flickr.com/groups/693574@N24/
Create a new thread in the discussion board with YOUR NAME as the title.
In this thread, post 5-10 images, along with a photographer's statement on why you want to be a part of this workshop.

APPLICATIONS DUE APRIL 23, 8AM.
Participants will be announced April 23, afternoon.

Good luck everyone!!
Please don't hesitate to email me with any questions-


Jamie Kanki
jmkcm8@mizzou.edu
Columbia Missourian Photo Editor
InFocus founder and treasurer
Multicultural Greek Council President
Alpha Phi Gamma Treasurer and Host School Liaison
(816)520-0813

HELLO PEOPLE WE HAVE A NEW PJ CLUB INFOCUS
they are looking to bring in Danny Wilcox Frazier - for a mini-workshop
go to the next meeting join in it will benefit everyone!!!

interesting piece by jenn ackerman. what do you think?
she answers some questions about it here on her blog

have you seen the newest MediaStorm piece The Ninth Floor? Here it is.
what do you think?

Great discussion about toning and ethics.

HOw to set canon 580 as a slave

1 Set the camera-attached 580EX as
the master unit. Set the wireless selector to .

2 Set the slave 580EX Speedlites as the slave unit. Set the wireless selector to .

3 Check the communication channel.
If the master unit and slave unit(s) are set
to a different channel, set them all to the
same channel (p.37).

4 Position the camera and Speed l i t es
as desired.
Position the Speed lites within the range
shown on the next page.

5 Set the master unit's flash mode to
The slave unit(s) will also be automatically
set to .

6 Check that the flash is ready.
When the slave unit is ready to fire, the AF-
assist beam will blink once each second.

7 Check the flash operation.
Press the master unit's test firing button.
The slave unit will fire. If the flash does not
fire, adjust the slave unit's angle toward the
master unit and distance from the master
unit.

8 Set the camera and shoot.

How To Slave an SB-800
1. First, turn on your flash.
2. Now get into the submenu by pressing and holding the "sel" button for 2 seconds.
3. Arrow right (the "single tree" button) to get the upper right quadrant highlighted.
4. Push the select button again.
5. Scoll down ("-" button) until "SU-4" is highlighted.
6. Push "sel" again to select.
7. Push and hold "sel" for 2 seconds to get out of the submenu.
8. Your flash will now say "REMOTE."


You are now in SU-4 mode, a legacy, wireless, quasi-TTL mode for which the SB-800 is backward compatible. But you are not going to use it for TTL. By pressing the "mode" button you can toggle between automatic and manual. Choose manual.
By pressing the "+" or "-" buttons, you can change power in 1/3-stop increments all the way to 1/128 power.
You now have a flash that'll slave to any other flash. You want to use both in the manual mode, so they will not influence each other's output.

Cross Lighting Strobist
Back Light as Main Light Strobist

cool example of cross lighting
Brent Williamson IMG_0048, originally uploaded by stateotnation.

Dyna lite manual http://www.dynalite.com/current_pdf/ppmanual.pdf

manual for pocket wizards
http://www.pocketwizard.com/HTML/manuals.asp#

blending grading might change slightly I need to get updated one from Rita

click on image comes up much larger

Raw Converter Basics
skip to min 2 HERE

CS3 raw
a little dry HERE
and HERE

MULTIMEDIA SHOOTER IS BACK ON FEED YOUR BRAIN!!!!!!!!!


BRIAN STORM WILL BE ON CAMPUS ON THURSDAY MAKE SURE YOU SEE HIM SPEAK AND CHECK OUT NEW STUFF ON MEDIASTORM


in case you did not get this email from David:

Brian Storm, president of Mediastorm and MU alum, will be on campus this
Thursday. He will be making a presentation to the Reynolds Journalism
Institute at noon - but we, the photojournalism community, will also have an
opportunity to work with him directly. That will be Thursday from 10 a.m. -
11:30 a.m. In Tucker Forum.

Probably in an ideal world we would have longer with Brian. In an ideal
world we might see his presentation before having our Q&A session with him -
but this is still an incredible opportunity to have a discussion with a
(THE) leading producer of multimedia storytelling.

So, I ask that you put this on your calendar. I ask also that you spend some
time on http://www.mediastorm.org to acquaint yourself with some of the
projects there. As you will see, he has a wide repertoire of approaches to
online storytelling; he's taking some chances; he has clearly thought deeply
about what is effective use of still photography, audio, video.

So, let's come up with some good questions for Brian. See you then.

David R.

Just some ideas to become a better photographer even outside the studio you should be thinking about these things all the time
You should be able to deconstruct the light used by others.
Reverse Engineering Other Shooters'Light
heres a list of questions to start with
Keep a "Lighting File" great idea

FLASH IT!!!!!!!!
ONE MORE TIME..............STROBIST

RAW
Unlike JPEG and TIFF, RAW is not an abbreviation but literally means "raw" as in "unprocessed". A RAW file contains the original image information as it comes off the sensor before in-camera processing so you can do that processing afterwards.In addition, many of the camera settings which were applied to the raw data can be undone when using the RAW processing software. For instance, sharpening, white balance, levels and color adjustments can be undone and recalculated based on the raw data. Also, because RAW has 12 bits of available data, you are able to extract shadow and highlight detail which would have been lost in the 8 bits/channel JPEG or TIFF format. Raw isn’t one single thing. Rather, it’s a general term for a variety of proprietary file formats—such as Canon’s .CRW and .CR2, Minolta’s .MRW, Olympus’ .ORF, and the various flavors of Nikon’s .NEF, for example—that share important common features. To understand the nature of digital raw captures, you first need to know a bit about how those cameras that shoot raw actually capture images.


WHITE BALANCE:
GLOBAL CORRECTION TO SPECIFIC





It is best to correct for white balance problems at your first.Exposure adjusts the overall image brightness, with a greater effect in the high values. Decrease Exposure to darken the image; increase Exposure to brighten the image. The values are in increments equivalent to f‑stops. An adjustment of +1.50 is similar to widening the aperture 1‑1/2 stops. Similarly, an adjustment of ‑1.50 is similar to reducing the aperture 1‑1/2 stops. (Use Recovery to bring highlight values down.)

Recovery
Attempts to recover details from highlights. Camera Raw can reconstruct some details from areas in which one or two color channels are clipped to white.
Fill Light
Attempts to recover details from shadows, without brightening blacks. Camera Raw can reconstruct some details from areas in which one or two color channels are clipped to black. Using Fill Light is similar to using the shadows portion of the Photoshop Shadow/Highlight filter or the After Effects Shadow/Highlight effect.
Blacks
Specifies which input levels are mapped to black in the final image. Increasing Blacks expands the areas that are mapped to black. This sometimes creates the impression of increased contrast in the image. The greatest change is in the shadows, with much less change in the midtones and highlights. Using the Blacks slider is similar to using the black point slider for input levels when using the Photoshop Levels command or the After Effects Levels effect.
Brightness
Adjusts the brightness or darkness of the image, much as the Exposure property does. However, instead of clipping the image in the highlights or shadows, Brightness compresses the highlights and expands the shadows when you move the slider to the right. Often, the best way to use this control is to set the overall tonal scale by first setting Exposure, Recovery, and Blacks; then set Brightness. Large Brightness adjustments can affect shadow or highlight clipping, so you may want to readjust the Exposure, Recovery, or Blacks property after adjusting Brightness.
Contrast
Increases or decreases image contrast, mainly affecting midtones. When you increase contrast, the middle-to-dark image areas become darker, and the middle-to-light image areas become lighter. Generally, you use the Contrast property to adjust the contrast of the midtones after setting the Exposure, Blacks, and Brightness values.
Source: Adobe Resource Center

It's important at this point to understand how gels work. Gels are optical filters that act by absorbing certain wavelengths (colors) and transmitting others freely. A CTB gel transmits blue frequencies but absorbs red, orange, and yellow frequencies. A gel works by removing certain colors. It's a common misconception that gels add color to the light. Gels can't add color. If the desired frequency isn't present in the light in the first place, or is present in low amplitude, a gel won't add more of the color. The sodium vapor lights used in parking lots, for example, emit only a narrow frequency of orangish light. Placing a CTB gel over one of these will not produce blue light; it will absorb the orange and pass almost no light.


Ah, but what about the rooms that have florescent overheads, tungsten lamps and big, daylight windows?


What you have to do is to choose your dominant light color and go with it. keep in mind that tungsten and daylight mix much better than do florescent and everything else.

Each fluorescent tube transmits a different range of colors depending on the age and composition of the tube. Generally, it transmits light in the yellowish green range.

Furthermore, it's a pulsating light source. It's regulated by alternating current (60 cycles per second in the U.S.). This means any shutter exposure faster than 1/50th is still unpredictable after all other variables are removed.

TTL

Can TTL Metering be Fooled?
You bet, even with the new flash matrix technology!But be aware that the camera's meters are still looking for 18% gray even in flash exposure. White or black subjects can throw the metering off and cause bad exposures. Size of the subject and placement in the frame can likewise cause exposure problems. The drawbacks with each flash unit and camera body when it comes to exposure will be covered under the appropriate sections. Just be aware that you, the photographer, still must be in charge and that all this technology is still only a tool and not the final word on exposure perfection

FLASH

DIRECT FLASH:

Direct flash is when the flash is on-camera and is pointed directly at the subject. Direct flash casts a harsh shadow behind the subject.

funny video

BOUNCE FLASH:

used to avoid the look of direct flash use bounce flash. This will help to create softer light and softer shadows. The flash is on the camera or off the camera and pointed toward a surface to bounce off.

Remember light falls off ( ****also inverse square law) so you will lose light once it hits the surface and comes back down. So the amount of light needed for a direct flash is much less than one that bounces of a surface and travels to the subject . Depending on where you bounce it, shadows are shown below or to the side.

the color of the wall, ceiling or surface you bounce off of will be reflected in your photo. So if you reflect off of a yellow wall, there will be a yellow cast to your photos.

FLASH

A great resource for tutorials check out strobist
great video 1
great video 2

GELS

***Remember fluorescent light creates a greenish tint
***Remember tungsten light creates an orange tint.

Flash light is going to be white just like the studio light flash. SO to balance , you will use gels that match the white balance colors.

*** for a fluorescent light, use a green gel.
***for tungsten light, use an orange gel.

You do this so that the colors match each other and your camera balances only one color.






You can attach the gels with velcro, tape or rubber bands to your flash.

DONT FORGET!!!!

Hot Shoe:
A hot shoe is a mounting point on the top of a camera to attach a flash unit or a hot shoe adapter for off camera flash use. The matching adapter on the bottom of the flash unit slides in from the back of the camera and is sometimes secured by a clamping screw on the flash.



Hot Shoe Cord:
You will need this to pull the flash off camera.

WHITE BALANCE

White balance (WB) is the process of removing unrealistic color casts, so that objects which appear white in person are rendered white in your photo. Proper camera white balance has to take into account the "color temperature" of a light source, which refers to the relative warmth or coolness of white light. Our eyes are very good at judging what is white under different light sources, however digital cameras often have great difficulty with auto white balance (AWB). An incorrect WB can create unsightly blue, orange, or even green color casts, which are unrealistic and particularly damaging to portraits. Performing WB in traditional film photography requires attaching a different cast-removing filter for each lighting condition, whereas with digital this is no longer required.


Color Temperature Light Source
1000-2000 K Candlelight
2500-3500 K Tungsten Bulb (household variety)
3000-4000 K Sunrise/Sunset (clear sky)
4000-5000 K Fluorescent Lamps
5000-5500 K Electronic Flash
5000-6500 K Daylight with Clear Sky (sun overhead)
6500-8000 K Moderately Overcast Sky
9000-10000 K Shade or Heavily Overcast Sky

METERING MODE

Metering modes:

Matrix/Evaluative

The sensor takes readings from several points in the scene and compares it to different scenarios stored in memory. From this reading the camera tries to guess the meter reading. Here the camera measures the light intensity in several points in the scene, and then combines the results to find the settings for the best exposure. Matrix metering is ok for most situations.

Center Weighted
The camera takes readings from the center of the scene only. The center of the viewfinder has to be pointed at the area you want to meter. An advantage of this method is that it is less influenced by small areas that vary in brightness at the edges of the viewfinder.

Spot or semi-spot

Similar to center weighted only a much smaller area. You have to be accurate using this mode as it’s easy to aim off and get the incorrect reading. This mode is useful for metering really difficult scenes. Spot metering is not affected by other areas in the frame and commonly used to shoot very high contrast scenes. For more accurate manual metering use center weighted or spot. But as noted before you have to be careful with spot metering to get it just right

GLASS 

we want to produce strong lines along edges

we want to eliminate distracting reflections

There are two ways to light glass

white line ---

black line--- 

black line 

if want background white need to increase exposure up 1-3 stops more than meter indicates

if want darker then decrease 1-3 stops 

meter through glass review reading on metering eres

Metal 

finding family of angles

1. position a white target where you think the FA would be. the less sure you are the bigger the surface

2. place a light at the camera lens 

3. aim light at the nearest point  the light will reflect off metal and onto test surface. mark as many points as you need to mark the FA 

4. study the position and shape of the marked area ******this is a good place to start making it quicker to find the FA 

EXPOSURE 

spot meter reading on metal remembering to expose 2-3 stops more than meter reading. ****remember meter tells us 18%

this is the manual for the new spot meter 

CHECK RITA'S BLOG FOR EASY LIGHTING DIAGRAM SET UP

• files  date_code_name_number (up to four digits)
• *** no outtakes ******no selects   in naming of files
• date yymmdd

• files in the selects folder date_code_name_lr or hr_number
  

• sizing  ONLY RESIZE THE SELECT
•  high Res images should be submitted at the same size they were shot low res should be resized to 800 pixels at longest dimension at 72dpi

• folders       code_name_outtakes or selects

• metadata you MUST enter       name, copyright info, caption info on what assignment is       (© copyright symbol on mac Option+g) 

• name your cd       code_name 

• always submit      a self critique, caption sheet, light diagram, label your cd,  in an evelope with name and code of assignement 

• post every assignment on blog

pregunta

frage

domanda

De vraag

post your question as a comment 

sorry i forgot

speedotron

this is the speedotron manual read page 5 intro and 10-13 

we have the 2405cx 

read it closely we will have a quiz 

metadata 

great explanation of meatadata templates

cache

more info on cache

batch rename

great video how to batch rename

this is the link to the meter manual 

learn it

use it 

love it 

meter

f/stops

This is the standard sequence of f/stops from f/1.4 to f/22. Although it doesn't seem intuitive at first, in this sequence the f/1.4 setting lets in the most light while the f/22 setting lets in the least. Also, each of these f/stops has precisely the same halving/doubling relationship as the shutter speed sequence.

1.4 2.0 2.8 4 5.6 8 11 16 22

Shutter Speeds8 seconds 4 seconds 2 seconds 1 second 1/2 second 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000

Each of these settings is clearly half/double the length of time of its immediate neighbours (OK, I know, 1/15 isn't exactly half the time of 1/8th and 1/125th isn't half the time of 1/60th, but it's close). This doubling/halving is thus pretty simple to comprehend for this exposure setting.

CLASS SERVER

This is the address for the class server

classes.jour.missouri.edu


if you are on campus enter apple k
then enter classes.jour.missouri.edu
you will see classes you have access to
advanced techniques should be one of them. in the
class folder there is a folder for the assignment
please put a low res copy of your assignment there.

this is info on what the cache does and how to manage
it for what you need to do. you do not need to do all
of the functions described but they are useful tools.

just make sure to attach the cache in your folders and burn to your cd


Manage the cache

Choose either of the following commands from the
Tools > Cache menu:

Build And Export Cache Builds, as a background
process, a cache for the selected folder and all the
folders within it (except aliases or shortcuts to
other folders). This command shortens the time spent
waiting for thumbnails and file information to be
displayed as you look in subfolders. To create
exported caches when you select Build Cache For
Subfolders, select Also Export Caches To Folder when
Adobe Bridge prompts you to build a cache for
subfolders.

Set cache preferences

Choose Edit > Preferences (Windows) or Bridge >
Preferences (Mac OS).
Click Cache.

Do any of the following:
Automatically Export Caches To Folders When Possible
Creates a cache in the viewed folder if possible. For
instance, you cannot place the cache files in the
viewed folder if that folder is on a burned CD. In
that case, Adobe Bridge places the cache files in the
centralized folder instead.

Cache Location Specify a new location for the cache.

Cache Size Drag the slider to specify a larger or
smaller cache size. If the cache size is near the
defined limit, older cached items are removed when you
exit Adobe Bridge.

Compact Cache Optimize cache and remove cached items
that are no longer available.

Purge Cache Clear the entire cache, freeing room on
the hard drive.

Note: Cache files are hidden files. To view them in
Adobe Bridge, choose View > Show Hidden Files.

this is a link if you have questions
http://livedocs.adobe.com/en_US/Bridge/2.0/help.html?content=WSfd1234e1c4b69f30ea53e41001031ab64-7363.html

ALWAYS BRING YOUR GEAR TO LAB.........

Check out Strobist
http://www.strobist.blogspot.com/

hey
so to link other blogs on your blog is really easy. You can add several page elements to your blog page or sidebar by clicking on "Add a Page Element". This will open a pop-up window that will allow you to add elements to your blog by clicking "Add to Blog" in the desired element section. Link List is one of the options

You can add a link list to your blog with the ability to add a link list title, select the number of items to display and sort your link list alphabetically. save changes


If you need extra help doing this or with any of the submission guidelines email me so we can set up a time to meet.

my email drearane@yahoo.com
phone 510-333-0071