[fletch]

Originally Posted by brookie_85

1. An Architect has hired you to photograph the facade of a new ten floor building he has just completed, constructed of concrete. There are five story buildings on the street opposite and he wants an accurate rendition of his work.

You want the 28mm shift lens here. The shift is for distortion correction and will prevent the building from looking like it is falling over backwards

Originally Posted by brookie_85

2. An architect has hired you to photograph the facade of a new twenty floor building he has just completed. The design is very modern and he is looking for a creative photo to enhance his design. There are ten story buildings on the street opposite. The building is made of stainless steel and glass.

Go wide with the 20mm. You can use the ditortion of the lens for some creative control and caputure some reflections in the glass. May be fluffy clouds on a clear day.

Originally Posted by brookie_85

3. A magazine has hired you to shoot a cover shot of a model's head. There will be hair and makeup artists and they want an outdoor shot on an overcast day.

- I'm guessing them mentioning an overcast day is where I'm supposed to mention some sort of filter?

Probably the 135mm (although you could get away with the 85 or 100) It will allow you frame tightly on the models head and have a nice silky out of focus background. You may want a reflector to bounce some light into the models face or an off camera flash/studio light to compensate for the lack of light on an overcast day.

Originally Posted by brookie_85

4. A magazine wants you to photograph a fashion story on active sportswear using male and female models. They are looking for high energy shots with models interacting physically with each other.

Something fast that will allow you to freeze action but capute all of the scene. Either the 50 or the 85 (or maybe 35 if you want to get in closer)

Originally Posted by brookie_85

5. An advertising agency wants you to photograph models with long legs for a panty hose ad. They want the look to be arty and the length of the legs exaggerated. The girls are to be photographed standing and walking.

You could use the 20mm or 35mm. This will allow you to get in close to the models but still capture a full lenght shot, producing a more arty, edgy look.

Originally Posted by brookie_85

6. A fashion magazine has hired you to photograph a story on business suits for women. They want high power shots of women in a slick city environment with a lot of action around them.

The 35 or the 50, will allow you to stand back a bit and get some background in arround the models.

Originally Posted by brookie_85

7. A fashion magazine wants you to photograph a story on business suits for women. They want high power shots of women interacting with men and women in an office environment. The location has lots of natural light through waist high to ceiling window’s but the spaces are
a bit small.

Go wide with the 20 or the 35. It will give you a big enough field of view in the tight space to capture full lenght shots for the whole suits. Again crank out the reflector to make the best use of all of the natural light.

Originally Posted by brookie_85

8. An advertising agency has asked for submissions to photograph a new Alessi juicer, which has been designed by an Italian design team and has won several prestigious design awards. The juicer looks like a brushed aluminium spaceship and they want a dramatic shot to emphasize its design.

That will be the macro then. Focus in on an individual disign element rather than the whole juicer.

Originally Posted by brookie_85

9. A book publisher wants you to travel to Asia to photograph a cookbook based on regional cooking done in sidewalk food stalls. They want the shots to have a “fly on the wall” kind of look with a voyeuristic appeal. They also want the food to stand out on its own and not look like a travelogue.

Fly on the wall you can go two ways. Go long, perhapse the 300 or the 135, stand back away from the scene and capture what you see. That look can look disconected from the scene. An alternative would be to take the 20 or 35, get involved in the crowd and shoot candid shots from the hip so people don't notice you taking them.

Originally Posted by brookie_85

LAST ONE

10. A food magazine wants you to photograph a story on onions and garlic. These are not recipes as such but the food in a more natural state. Some shots on a farm followed by some close up shots and some shots of people’s hands crushing and chopping.

The macro would do this in a controlled evironment but you could use the 50 or 85 in a more informal setting.

Its a bit photography by numbers but I'm sure that is what the tutor wants to hear.