what is up everybody it is Monday which
can only mean photo assignments and in
this video I want to give you photo
assignment number six which is going to
deal with photo sequences now I want to
talk about photo sequences and what they
are it should be fairly obvious but a
photo sequence is a group of photographs
that work together so they're not
designed to stand alone individually
they are designed as a sequence to be
displayed together and this is the
important part about all this and I want
to explain that in this video they end
up equaling a whole that is greater than
the sum of its parts and so when this is
done really well it ends up giving you a
concept or an illustration or a picture
that maybe doesn't exist it's suggesting
that and so I know that sounds a little
far out in a little conceptual so let's
break this down and talk about some very
well-known photo sequences one of the
first photo sequence photographers that
I can think of in most of you're
probably familiar with is Eadweard
Muybridge who was an English
photographer who spent a great deal of
his career in the United States during
his career he was very famous for these
landscapes that he shot at Yosemite but
now today we know him for these motion
studies that he did now more bridges
work you have to understand predates
motion picture motion picture didn't
come along until the 1890s ish and
muybridge was doing these in the 1870s
and he had these very complex systems of
stringing up multiple cameras that the
shutters would be tripped in sequence
and he ended up with a series of images
that were essentially motion studies of
adamant objects so he would study motion
of humans of dogs of birds of horses the
list goes on and on he did a ton of these
and yes they were designed to be played
back similar to a motion picture but
they work as sequences and this is
really important and the other important
thing to consider is to look at these
not through our own eyes in the modern
day but to consider how people
interpreted these images in the 1870s
and this is before motion pictures so
this is something people were not used
to seeing photographs were these things
that generally long exposure shot on
collodion wet plate and they took a long
time to do and people weren't used to
seeing them lined up like this and more
importantly they weren't used to seeing
motion interpreted this way and so what
he's showing us are ideas that you know
people would talk about like when a
horse runs do all four legs come off the
ground things like that he's showing his
motion and
now this is something that existed in
the 1800's but if we bump up to the
modern day sort of at least the mid 20th
century in the 1960s New York was kind
of the center for most things in the art
world including photography and I think
arguably two of the big kings at that
point in New York were Richard Avedon and
Irving Penn who worked for the fashion
magazines they had feet in both the
commercial world and the art world but a
new generation by the 1960s came along
of conceptual artists one of the
photographers in this group who I think
is very underrated as a gentleman by the
name of Duane Michals and Duane is a
fantastic photographer he's still alive
today he's in his 80s and he has done
some extremely interesting always very
conceptual work and his work even though
technically he's a brilliant
photographer it's more about the
thinking in the concept behind you'll
see techniques that he uses like double
exposure for instance or even slow
shutter speeds allowing certain things
to abstract in the image but Duane is
always very conceptual with his work and
often times he incorporates his own
handwriting into things there are themes
that come up quite a bit like mortality
spirits afterlife there a lot of
psychological undertones to his work one
of the things that he was really well
known for which culminated in a book in
1970 and he still produces these as far
as I know our image sequences now unlike
Muybridge you have image sequences with
Duane Michals that are more
storyboarding they tell you a story it's
a sequence of images that unfold an
event usually it's very simple but in
the case of something like this image
which is or this image sequence which is
very well known this is called
Heisenberg's Mirror of Uncertainty what
we see here series of images that
portray a woman looking into a mirror
undertones of surrealism perhaps duality
and maybe even a psychological undertone
but this is one of his well-known image
sequence is another one that tells a
story more in a timeline type setting is
this one that's basically a
self-portrait of Duane who's sitting on
the right having lunch with a friend and
you see this progress between laughter
and boredom finally the one guy falls
asleep on the table at the end and then
they leave but it's a very simple
concept that has a beginning middle end
and is very traditional in terms of
storytelling now when you create image
sequences that are going to be more
storyboard type like this there's two
things that you want to consider and I
think the first one is going to be the
relationships of the images to one
another for example do they have to be
in a particular order or could they be
taken in a different order and so I
think in the case of the woman with the
mirror they're not necessarily dependent
on the order because it's not a
time-based story like that there's
another one that's a really great
example which is a portrait that he did
of Andy Warhol now this is a series of
four images of different angles of Andy
Warhol's head and this worked one
because most of us know who Andy Warhol
is we know what he looks like and two
you're seeing the parts here equal
something greater than the sum so they
are basically essentially giving you an
image that doesn't exist if you took any
one of these on their own you may or may
not realize it's andy warhol but put
together they work and I think that's
the important takeaway so one you have
the relationships of images to one
another the second thing that's really
important is how time is considered in
the image sequence so there's two ways
you can go with this either time exists
or time doesn't exist and I know that's
fairly obvious but they're treated very
differently so for instance this is one
of his well-known image sequences
entitled chance meeting it's very simple
and if you read this right to left in
rows from top to bottom basically you
see these two gentlemen walking down an
alley and there's a point in the middle
where they are together one is looking
at the other and something is obviously
there they walk away and in the last
frame the first guy looks back we didn't
know that's what creates that circle of
the encounter and so what's being
communicated in this set is what was the
point of that encounter definitely again
psychological undertone that's going on
here but that's left up to the viewer to
decide and I think that's what makes
this work it's a very simple setting
where you see two guys walking down an
alley towards one another they look at
each other one looks at the other and
they cross but there's something greater
than the sum of that that exists and I
think that's the point of that image
sequence and why it works now that is
one more time exists or it ends up being
a storyboard type format i'm going to
give you another one here this is
another well-known set of his called
Things Are Queer and in this one it is
not about a time-based medium it's more
surrealistic and you're going to see
kind of a relationship circle around in
here so in the first image on the
left for instance we see a scene of a
bathroom I do want to note there's a
picture above the sink in the bathroom
second sequence we realize they're these
legs that are in that are out of scale
out of proportion we realize in the
third image that is a miniature bathroom
by the fourth image we realize this is a
picture and it's in a book by the fifth
image we see it's somebody reading the
book and then we move down the hall and
then we realize that that is indeed a
picture hanging on a wall oh it's the
picture hanging on the wall above the
sink and then finally the last image
gives us the scene again reestablished
so you're going to notice that the first
image and the last image are the same
image but that's what ties it together
now this one is not suggesting time
there's no time passing there's no
traditional beginning middle end in that
in the traditional sense but what we are
seeing is the surrealistic
interpretation of what is the scene and
it's all inside of itself so this is
obviously a more complex image sequence
but it is not time-based it is scene
based and so you'll notice that in the
time-based sequences that Dwayne
Michals puts together you're going to
see pretty much the set if you're
talking in movie terms the set that's
not change it deals with how the actors
within that set move through the scene
and that's how you're given that
perception of time but in this last
example that doesn't exist the set
changes because it's two sets that live
with inside of one another and that's
what creates that surrealistic quality
and that loop and so there's a lot of
different ways you could go with this
and I want to talk a little bit about
how we're going to do this photo assignment
first of all I'm going to allow more
time than usual because this is a lot of
work it's going to require that you
think about this a great deal before you
begin before you even pick up the camera
and how are you going to plan this out
and how is it going to work typically
image sequences I think the Muybridge is
definitely different example but even in
Michal's case they're usually between
four and nine images that work together
so it's usually no less than four no
more than nine and they generally
because the way the layout works they
work well with non prime numbers so four
six eight and nine so you could do
whatever you want if you choose to do
more to as fuse you need but as many as
you need to get it done does that make
sense to is kind of hard to deal with so
probably three or four is going to be
the minimum on that so I will give you
more time than required what I'm
probably thinking here now is two weeks
maybe three let's see how the
submissions are coming along let's see
where people
on this and if we need a full month
maybe we could do that so I don't want
people to freak out over the time and I
want to encourage people to participate
in this I think this is a really
important one because essentially this
is an instance where photography is
storytelling and I think is really
important to understand and do another
thing I would consider doing on this is
we talked in the very first assignment
about the whole notion of theme and
variations this is something that might
be important to do more than one on
because this is a very specific skill
and technique that's involved here and
it may require a couple tries to get
something that's really of great quality
and so I want you to push yourselves on
that some too so those are just a couple
of suggestions on the timeline now
here's how I want you to turn these in
when you submit them on social media I
want you to assemble them like what
we've been looking at as a set and put
those in in one big image and put those
in I do not want you to give them to me
image by image because I won't deal with
it it's way too much work for me to
piece that together and try and figure
out what you're going to do and the idea
is not for me to do your work for you to
do your work so just give me one image
with the entire set in the end and if
you're new to photo assignments and you
have no idea what we're talking about it
all these are these things that we're
doing there by weekly photo challenges
and they're designed to increase our
capacity of creative thinking and get
better as photographers so that's what
we're doing if you're new to Photo
Assignments I will link up to the whole
playlist start with the first video it
tells you everything you need to know
i'll put that in the show description or
up here or wherever you're watching this
and so that's where we are and so we're
going to do if you have any questions
about this or any suggestions please
leave me a comment and let me know and
if you've enjoyed this video because we
were to like it share it and as always
subscribe to the Art of Photography for
more videos and I will give more
information on this as we unfold because
we're going to take a little while
longer to do this one so I'll do some
more stuff on this in the coming weeks
and so we do photos some it's every
Monday so get out there think about what
you're going to do pick up your camera
and do some good until the next video
see you guys then later
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