what is up everybody welcome back to the
show right now we are in the middle of
Photo Assignment #6 which is
photo sequences there's been a few
submissions so far but this is a tougher
assignment and I want to talk about that
some more today this is very different
than the other stuff that we've done the
last photo sent was called "Red" and red
is a very interpretive subjective term
you can kind of interpret that how you
want and it works this assignment is very
different because it deals with
conceptual photography and so I want to
talk about that today I am going to
share a couple entries for photo
assignments that have come in so far
that I think are particularly good and I
want to walk you through the process of
actually doing one of these someone
asked me in a comment off the last video
if I would show my process and how I
work and so I'm going to share a little
bit of that with you today so let's
first of all talk about photo sequences
and conceptual photography in the last
video one of the photographers that I
used to illustrate this idea of the
photo sequence was a gentleman named
Duane Michals who is an incredible
photographer he is known as a conceptual
photographer this is a movement of art
that started in New York really around
the 1960s still continues today but what
is conceptual photography what does that
mean obviously there's a concept but
what does that mean beyond that and
really it's quite simple all it means is
there's an idea that permeates and in
the idea of conceptual photography it's
something that outweighs any of the
aesthetic choices but you know you can
have both if you want but it means there
is a solid idea that functions to give
continuity to the work of art or in this
case the sequence of photographs and
that idea I believe works best when you
can introduce some kind of element of
surprise something that is unexpected
that's what ends up giving it a lift
sometimes this can be humorous sometimes
it can be serious but it's something
that is unexpected so for instance if we
look back at one of the photos sequences
that I showed you last week just to
remind you this is a photo sequence of
Duane Michals and a friend of his
eating at a diner and it's a fairly
mundane thing we've all done it so
what's different about this well they're
very animated they start laughing and at
one point Duane Michals starts talking
and he starts boring his friend who
falls asleep on the table eventually
they get up and leave I think that
falling asleep on the table to introduce
the idea of boredom is that element of
the unexpected that gives that photo
sequence a lift otherwise it's not as
exciting it's not as interesting and I
think thats a
really important function of this and so
this is something that's really
important to consider and I think the
hardest place that people try to start
is how do you come up with ideas so
where do ideas come from this is the six
million dollar question there are
thousands of books written on this
subject and there are thousands of gurus
out there that want to tell you how
creativity works and you follow them and
their guidelines and all you know the
only thing that I could tell you in all
of my years of experience in this is the
people that have known and who I've
worked with and what works for me is
that everyone is different and it's
going to be different for everybody how
they arrived at the end with an idea and
how that comes to them now I will say
one thing that I have noticed that
creativity is like going to the gym when
you're going to the gym regularly and
you're exercising regularly you feel
good it's satisfying to go and you feel
like you're in a good place and the one
or two weeks you stop exercising it's
really hard to get back into it and you
have no strength I think creativity
works the same way in our own minds when
you're used to doing it and you're in that
groove it's going to flow more naturally
than when you skip out on it for a
couple weeks then try and come back to
it so sometimes it's a matter of warming
up being patient with yourself and
getting back into it now I personally
think that ideas are everywhere and
right now we're talking about the photo
sequence so a photo sequence has to have
generally speaking some kind of action
something that happens so what is that
that happens now I'm going to do one
with you guys today right now it looks
like rain outside so that's probably not
a good idea to want to go shoot out
there so I'm going to stay in so it's
going to be something that's the studio
thing so what do I have around the house
that's an idea and here's where it gets
complicated because most people don't
recognize ideas because they seem boring
or mundane or just not interesting and
most of these are so if I consider
things that happen around the house okay
setting the table making dinner doing
the dishes doing laundry those are all
mundane things but what is that one
element of surprise that could lift one
of those those those actions into being
something that is interesting so for
instance I was thinking about this
earlier when I was in college I can't
tell you how many times I would buy a
pair of jeans and then throw it in with
a bunch of whites and my laundry and
everything would come out blue so
there's an idea for maybe a photo
sequence if you could photograph that
right now that's not what I'm willing to
do today but I was thinking about this
the other day and
I live in Texas and it's really hot
here in the summer and a couple years
ago I went to this big phase where I
would stay up late at night because it
was cooler and inside and I did this
botanical study so I shot a lot of
flowers a lot of organic objects and I
thought you know based on the work that I
did with that years ago maybe there's
something I could do where -
the first thing comes to mind is like a
time lapse of a flower blooming right
well that's a little plain but I can
tell you one thing that happens around
my house is my cat Judy eats flowers in
fact we can't have nice things here they
always had to go up high and hidden
because she will devour them when
they're out so maybe I could incorporate
that and that could be my element of
surprise so with that in mind let's take
this to the next step and start
sketching this out a little bit okay so
the first thing I'm going to do is
sketch out my ideas onto a storyboard
now I have the worst drawing skills in
the world that is not the point the
reason that I'm doing this is one for
efficiency I want to make sure that I do
this with as few images as possible i
think this is really important you see a
lot of people try to do this with way
too many images and it's just too much
to try to look at for the viewer and so
I really want to be economical
with this if I can do it in four images
great and if I need more frames than I
can add them on from here the other
thing I want to start to think about is
just visually do I have enough
continuity going within the scene and
that's really important so for instance
in my case we're going to start with the
four squares here and I want the first
frame obviously to be the the flower
before it blooms so it's just
budding so that's one thing I want to go
get when I do my props i'm not going to
actually sit here and wait weeks on in
for a flower to bloom we want to get
this done fairly quickly so I want to
make sure I have enough to work with the
same flower that's not quite bloomed yet
and blooms so first one it's not
blooming the second one I'm going to go
ahead and show that the flowers bloomed
and then the third frame I think is the
place to introduce the cat which is what
this little bad drawing is supposed to
be that's supposed to be Judy and she'll
be devouring this somehow I'll have to
wait and see what happens that
image will probably have to improvise a
little bit because I'm dealing with the
cat on this and then finally in the last
image I definitely want the flower
pedals but I think we're going to need
the stem also to show now what's
interesting about sketching it out is
I'm already starting to think in terms
of what angle am I going to shoot this
from because I can't have those flower
petals just floating in the air
obviously
and I'm not shooting a bird's-eye view
of this so probably what I'm going to do
is go at a 45-degree angle so I can
cheat that a little bit and I can just
have them scattered in the background so
it looks fairly normal so that's why I'm
sketching this out that's the only
reason so I start to think about those
things a little bit start to do some
problem-solving you make sure I'm being
efficient now let's go get some supplies
[Music]
for better or worse, I now have a photo
sequence is it the greatest thing ever
made? no it but it's a starting point
and it's something that makes me want to
work on it some more I mean what you saw
was literally about an hour and a half
and that included setting up my lights
and actually going up to the store
getting some props and go and that was
an hour and a half complete and so I
didn't spend a lot of time on that but
one thing that helped me was the fact
that I sketched those ideas out beforehand
now I do want to say this that a lot
changed when I started photographing
when I got to the camera I realized that
the flowers that I got were really
pretty small and I wish they were a
little bit bigger I also realized they
were yellow and I envisioned them being on
a white background and that didn't read
so I needed to change my background to
black so there's going to be a lot of
decisions and a lot of things that you
change when you move to the camera away
from the stick figure stuff but at least
that gave me a concept I knew what I was
going for and with conceptual art or
conceptual photography the whole
aesthetic of that or the whole idea that
is that the concept is more important
than the aesthetics so once you get that
and you're trying to get both then it
gives you a starting point is all I'm
trying to say and it gives you an idea
and I knew what that element of surprise
was going to be and that actually came
off pretty easily so I hope that helps
you guys I want to talk really quick
about two submissions that I got this
week that I think are really really good
I'm going to make one suggestion on each
of these this is a little bit critique-y
but there is one thing that can be
changed in each of these to take it from
being really really good to really
exceptional and so this first one was
sent in by Jim Garlock and I think it's
fairly self-explanatory what this
sequence is but this is his son who was
begging to eat a lemon and much to his
surprise it was not nearly as tasty as
he thought it was going to be as you can
see by the facial expressions and I
think this photo sequence is incredibly
beautiful it's a cute kid it works
really well its got dynamic emotions it
certainly has the element of surprise
that's there the unexpected at least for
the kid I think it's great my only
complaint - my only criticism that I
would give to this image is there are
too many photos you have to remember
that when people experience a photograph
it's not like a movie even though we're
doing a sequence and it starts to feel
like a comic or a storyboard or
something like that people are going to
give much more time and attention to
motion picture if they're into it than
they are a group of photographs and so I
think right now there are too many
images here and you could narrow it down
to four of the best and tell the same story
into it much more effectively and you
also remember when you're giving people
a bunch of images that's a lot of
information that somebody has to grok
and so I think it's really important to
keep that as simple as possible but
anyway other than that I think this is
outstanding this is exactly what we're
going for on this just make it fewer
images the second example I want to show
you submitted from a gentleman named
Wo Ow which I doubt is his real name
but I really love this image sequence
now unlike all the things we've been
talking about were a conceptual photo
sequence deals with some kind of action
this one does not it has a concept but
it's not an action there's nothing
moving here but you could probably tell
what this is this is basically the
common thread here is the red chair in
each image but its showing generations of a
family and I think the key image
here is the one with the photo on it
because you realize it's somebody who's
not with us right now but it shows that
lineage and I think this is really
strong and I think it really dials in
together now the way you presented this
was in this comic strip kind of format
where it was columns and rows - this is
real nitpicky and you may have done that
because you submitted on social media
and you're trying to maximize your space
which is fine but I would display this
all in one row and it's just
a few images I would put them all on a
horizontal row I think they just need to
be read like that I think when you start
making the I wander it takes away from
the simplicity of this but I think this
is really beautiful it's really well
executed and my god what a great idea
doing something is generational like
that and that's a very different spin on
all this concept stuff we've been
talking about so anyway I hope this
helps you guys we're going to take the
entire month this month for this photo
assignment it's hard I understand it's
probably a way of thinking and a style
of photography that most of you guys are
not used to dealing with and so we're
going to take it slow if you guys have
any questions please leave me a comment
on this video and as always if you've
enjoyed this please remember to like it
share it and subscribe to the art of
photography for more videos - I'll link up to
the entire Photo Assignment playlist if
you're just now coming into this and you
have no idea we're talking about these
are these will biweekly challenges
that we do and I will link up some
videos that you can watch here until the
next one I will see you guys then later
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