On Assignment

$395.00 – $595.00

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Description

ON ASSIGNMENT – begins Wednesday OCTOBER 4th – ending Wednesday NOVEMBER 22nd.

Classes are offered Wednesdays @ 7pm CST

All classroom sessions are LIVE via ZOOM 

$595 for this 8-Week Online Photography Course With Bryan Peterson

I am very excited to announce the return of the most diverse, inspirational and fun photography course I have ever had the pleasure of developing and teaching! Having trouble keeping motivated? Looking for inspiration? Do you need an excuse to pick up your camera? Still not achieving your Photoshop goals? Looking for some input on your photography skills? Are you ready to really expand your vision and push your creativity to the next level?

Here’s what recent student, Anna B, has to say about “ON ASSIGNMENT“:

“ON ASSIGNMENT” is an intensive and very rewarding course! It pushed me to always carry my camera around and look for ways to realize assignments while pushing my boundaries every week. I appreciate very much the fact that Bryan is extremely friendly and creates a safe and creative space for photographers of all levels. His critique is always constructive and straight to the point. He freely shares his knowledge and expertise on how photographs could be improved! The course also pushes one to explore different types of photography. I also learned a lot by looking at the work of others. If you are looking for how to develop your creativity, have the motivation to take your camera around with you, look no further! I am looking forward to the next “ON ASSIGNMENT” course!


It is time to launch another round of my extremely popular 8-Week ON ASSIGNMENT online photography course with ALL NEW assignments designed to address the one area that ALL of us need help with:  expanding our creativity with our camera AND at times, even with Photoshop!  

Each week’s assignments are designed to make you think, to challenge your vision, challenge what you think you know and call your attention to what you do not know.  Most importantly, you will learn and grow as a photographer, both technically and creatively.  See below for some examples of previous weekly assignments.  

We will get started with a Zoom Meet and Greet on Oct 4th. During our first session, Oct 4th, students will introduce themselves and will have the opportunity to ask any questions about photography in general or this ON ASSIGNMENT course specifically and most of all share your Top Ten Images you feel you have ever taken with me and your fellow classmates.

For the next 7-weeks, students will work on that week’s two assignments (I will tell you what those two forthcoming assignments are at the close of each weekly session)  and you will than submit your top ten images for that week’s two assignments.  That’s right – each student can submit up to 10 images each week for critique!  Of the 16 different assignments (2 per week for 8 weeks), one assignment will involve the use of your flash and at least 3 of the assignments will be Photoshop-related. But do not worry about using your flash or being overwhelmed by PhotoShop. Lessons, demonstrations, and videos on the use of flash and the necessary Photoshop skills will be provided in advance of these special assignments. 

Students will submit their top ten images for that week’s assignments no later than 12pm PST on each preceding Monday before the next day’s scheduled ZOOM meeting. Our zoom sessions will run for at least one hour if not a bit longer and of course you will hear and watch not only the critique of your weekly assignments but also those submitted by your fellow students. Critiques will address how well the student’s photographs met the requirements of the assignments, whether the creatively correct exposure was executed, and both in camera and post-processing techniques.  We will also make the time to discuss the creative process, student frustrations, as well as challenges and triumphs while completing the assignments. Bryan will also offer suggestions for how to overcome these challenges and continue to expand your photography and creative skills.
Additionally, each Zoom Photo Critique Session will be taped and made available online in the event that your schedule does not support attendance at the Tuesday session or if you would just like to re-watch and take in additional details about the critiques of your work and other student work.  

Above and below are some STUDENT samples from past course assignments, but of course you can expect ALL NEW assignments when we begin this new ON ASSIGNMENT course Oct 4th.
“Illusions” – using a 12 in x 12 in (or 30 cm x 30 cm) square mirror or a mirrored tile (which you can pick up at your local hardware store), strategically place the mirror to create illusions and photograph those illusions.  For example, place the mirror inconspicuously in grass, and photograph the reflection of the sky in the grass so that it seems like there is a square of sky (or a “hole” of sky) in the grass.  Take the mirror to the beach and put the mirror in the sand and cover it partially in sand except for a small area and photograph reflections of the waves, the sky or passersby in the mirror.  Use the mirror to photograph portraits with the reflection of some part of one person appearing to be connected to another person.  The key here is to hide the mirror and provide a creative optical illusion.  Use a moderate to super wide-angle lens.  Everything in focus, f/16 or f/22. 
“Street photography” – try to focus on shooting a subject that is the same color or a color complement to the background of your street photography images.  If you watch the video of the Tuesday, October 12 Zoom Photo Critique, Bryan provides some examples.
“Three spoons “- what can you do with 3 spoons?  Let your imagination run wild.  Any subject, any light, any location, just as long as you have 3 spoons in your composition.
“Leading Lines” – shoot with a wide-angle lens at a minimum of 28mm (18mm on DX bodies) but if you have it, strive for 24mm or even wider.  Subject matter of the leading lines is wide open, but you must ‘lead’ the viewer to the subject.  In other words, do not shoot a composition of lines that do nothing but take the viewer out of the photo, but rather compose and shoot lines that bring the viewer’s eyes to the subject.