On a Scantron record your answers to the fifty questions below. Use the site, your book, and even better, your camera to determine the best, most correct responses. The due date for this is Monday, March 28th.
1. A feature story deals more with _________ than a hard news story.
A. human interest
B. immediacy
C. the five “w's” and that one “h.”
D. conjecture
2. Photography for feature coverage is more ________ than photography for spot news.
A. graphic
B. objective
C. narrative
D. artistic
3. Moving an object twice as far from the light source will
halve the available light.
A. True
B. False
4. The inverse square law explains why light ________ occurs so rapidly.
A. polarization
B. diffusion
C. falloff
D. intensification
5. Opening the aperture by _______ f-stops will have the same effect as increasing the power from the light source by one quarter, and should therefore give you the same exposure as would be made if your subject was half the distance away from the light.
A. one
B. two
C. ¼
D. ½
6. A bare bulb lamp will create
A. shadows with no falloff.
B. hard shadows.
C. high ratios with little ambient light.
D. long falloff shadows.
E. All but D.
7. Bouncing light off a wall, ceiling, or card light diffuses its polarity.
A. True
B. False
8. Daytime cloud cover results in
A. diffused coverage with long falloff.
B. minimal shadows.
C. high exposure ratios.
D. More even exposure ratios.
E. All but C.
9. In three point lighting the ________ is the source upon which the exposure is determined.
A. fill
B. key
C. backlight
10. In the diagram below, the key light is set approximately forty-five degrees of center from the subject's axis to the camera. If the key's height is at a 45 degree angle to the subject, the modeled image result is called a _______.
A. split
B. Van Gogh
C. Rembrandt
D. glamour
E. Dali
11. Ratios in a three-point set up involve the difference of illumination between the key and the _______ .
A. fill
B. backlight
C. split
D. ambient light
12. Ratios are used to _________ the face.
A. flatter
B. divide
C. fill
D. model
E. punch
13. To reach an exposure ratio of 2:1 with the key metered at f/8, the fill would be metered at_______.
A. an f/8, f/11 split
B. f/11
C. f/5.6
D. an f/5.6, f/8 split
(A split means the half stop increment between stops.)
14. The backlight _______ the subject from the background.
A. illuminates
B. polarizes
C. separates
D. highlights
15. The portrait below used __________ lighting to model the face.
A. split
B. Van Gogh
C. direct
D. glamour
Eric Young
16. Split lighting _________ the face.
A. slenderizes
B. aggrandizes
C. broadens
D. flatters
17. Glamour lighting _______ the face.
A. slenderizes
B. aggrandizes
C. broadens
D. flatters
18. Not only are the eyes the windows to the soul, they can also reveal the type of lighting used for the portrait. As in the photo below, this can be determined by looking closely at the eyes' _______.
A. color
B. catchlights
C. ratios
D. dizziness
Eric Young
19. The image below is an example of _________ lighting.
A. Rembrandt
B. glamour
C. dramatic
D. split
Eric Young
20. The image above was shot using a fixture diffusing the quality of the light. This resulted in shadows with
A. long ambient falloff.
B. short ambient falloff.
C. hard falloff.
D. delineation.
E. Both A and D.
21. Ambient existing daylight is can be used as a _____________ in creating three-point lighting outside.
A. fill
B. backlight
C. key
D. bounce
Andrew Pinckney
22. The effect of three point lighting can be reached without fixtures, using ambient light sources instead. Like in the photo above, on interior shoots, using window sources with a _________ exposure provide the best light.
A. northern
B. southern
C. western
D. eastern
23. Three point lighting can also be realized outdoors without fixtures using the sun as a backlight, a flex fill or bounce card as the key and _______ as fill.
A. ambient light
B. a Chimera
C. a fresnel
D. a par
24. Using a
flash in bright locations or in daylight to lighten shadows, reduce the harsh contrast of full sunlight or brighten up dull images without being the primary light source for the photo is called _______.
A. bounce flash
B. flex flash
C. fill flash
D. catchlight
25. Kobre suggests looking at contrasts in lifestyles for feature material. The image representing this features two shirtless men walking downtown San Francisco, both of which wearing nipple rings while they pass by ______________ waiting for the bus.
A. a pair of nuns.
B. Jehovah's Witnesses
C. Mormon missionaries
D. Hare Krishna's
26. Growing accustomed to your surroundings is a psychological phenomenon called ___________. Kobre suggests keeping a fresh eye in your own contexts to pick out features you wouldn't normally notice.
A. closure
B. habituation
C. contextualizing
D. incongruous
27. A good feature photo has the ability to elicit an affective consequence, or a _______.
A. universal emotion
B. good laugh
C. stock photo contract
D. psychomotor response
28. In the text there's a photo of a technician working through the posterior of a robotic dinosaur in chapter five. The image is used as an example of __________.
A. universal emotion
B. kids imitating adults
C. habituation
D. a prehistoric pelvic exam
E. the incongruous
29. Feature photos are also called evergreen indicating their
A. environmentally friendly nature.
B. timelessness.
C. shelf-life.
D. green house effect.
30. A sure bet for subjects in shooting features are
A. children, animals, and nuns in habits.
B. Mormon missionaries.
C. animals acting like people.
D. All the above.
31. Kobre suggests using _________ as a method of diffusing a portrait subject's anxiety of being photographed.
A. squeaky toys
B. jokes
C. magic tricks
D. boredom
32. The _________ context can give depth and texture to a portrait.
A. physical
B. psychological
C. social
D. cultural
33. The image below is an example of the effect of a ________ lens on a portrait.
A. long zoom
B. telephoto
C. wide
D. macro
Eric Young
34. _______ are clues to the inner person.
A. Facebook pages
B. Pictures
C. Props
D. Eyes
35. When shooting action parallel to the film plane, such as a sprinter or a race car, the closer the camera to the action the ________ the shutter speed.
A. slower
B. faster
36. Freezing action requires
A. fast panning.
B. a fast lens.
C. a fast shutter speed.
D. Both B and C.
37. The angle of the moving subject to the film plane affects the choice of shutter speed.
A. True
B. False
38. ________ is the foundation to shooting most sports.
A. Lots of caffeine
B. Location, location, location
C. A press pass
D. Good looks
39. ________ is the key to shooting most sports.
A. Lots of caffeine
B. Anticipation
C. A press pass
D. Good looks
40. Most of the action in basketball takes place
A. in the key.
B. under the hoop.
C. at the bench.
D. mid court.
E. Both A and B.
41. A fixed 300mm telephoto lens is ideal for shooting under the hoop.
A. True
B. False
42.
David Pu'u is
A. a portrait photographer.
B. a surf photographer.
C. a glamour photographer.
D. a MotoGP photographer.
43. When David indicates, “You've got to have game,” he means
A. you've got to have bank, location, and a distribution contract.
B. you've got to love baseball.
C. you've got to love Vegas.
D. you've got to have a complete understanding of photography, surfing, surf history, weather, swell and weather forecasting, and know all the players world-wide.
44. The _______ is the most compelling and yet the most difficult position in which to shoot surfing.
A. land-locked
B. aerial
C. POV
D. submarine
45.
Dave Wild suggests reviewing your shots with _________ to check sharpness.
A. Photo Shop
B. iPhoto
C. zoom
D. Flicker
46. As seen in the photo below, Dave suggests using a _______ to maintain vertical stability while inducing horizontal blur while panning on a speeding MotoGP motorcycle.
A. spectator
B. monopod
C. sandbag
D. fence post
47. Jon Franklin, Pulitzer Prize winning author of Writing for Story, says that stories revolve around a(n)
A. complication and its resolution.
B. protagonist and an antagonist.
C. action sequence.
D. good guy and a bad guy.
48. The correct response above defines
A. narrative storytelling.
B. any John Grisham novel.
C. most Bruce Willis films.
D. editorial photo essays.
49. Editorial essays
A. seek to make a point.
B. often take a position.
C. have a point of view.
D. All the above.
50. Documenting essays
A. are shot with an agenda.
B. are more slice-of-life told from a neutral position.
C. require research.
D. may show conflict and resolution.
E. All but A.
