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Foundations of Photography: Composition
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Image analysis: The work of Paul Taggart


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Foundations of Photography: Composition

with Ben Long

Video: Image analysis: The work of Paul Taggart

Ben: All right we are back for more image analysis. We've got a different photographer up here on the chopping block this time. We are going to look at the work of Paul Taggart, an international photo journalist. I first met Paul here at Arts Institute also, he is also a former student. Fantastic photographer, you might have seen his work in the New York Times or Time Magazine, any number of other journalistic institutions. And we have got a little selection of Paul's work here, starting with this one. It's a powerful image. Connie: It's a very powerful image. Ben: So much so that we didn't know what to say.
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  1. 12m 4s
    1. Welcome
      1m 47s
    2. Using this course
      7m 27s
    3. What you need to know
      2m 50s
  2. 2m 47s
    1. What is composition?
      2m 1s
    2. All form, all the time
      46s
  3. 12m 34s
    1. How your camera is not like your eye
      2m 52s
    2. Looking vs. seeing
      2m 25s
    3. Vision and attention
      2m 13s
    4. Dynamic range
      1m 59s
    5. Seeing exercises
      3m 5s
  4. 36m 48s
    1. What all good compositions have
      1m 8s
    2. Subject and background
      3m 5s
    3. Balance
      7m 20s
    4. Point of view
      3m 22s
    5. Simplicity
      2m 59s
    6. Finding and capturing a good photo
      2m 11s
    7. Working the shot: Why one is never enough
      6m 41s
    8. Practicing
      3m 24s
    9. Why black and white?
      2m 21s
    10. Exercise: Practicing the fundamentals with points
      4m 17s
  5. 41m 48s
    1. Lines
      7m 7s
    2. Analyzing lines
      6m 35s
    3. Exploring a town
      4m 7s
    4. The Franklin Hotel
      2m 7s
    5. Shapes
      10m 13s
    6. Repetition: Arranging the elements
      1m 37s
    7. Rule of threes
      1m 36s
    8. Perspective
      1m 47s
    9. Symmetry
      1m 10s
    10. Focal length, camera position, and depth
      2m 27s
    11. Intersections
      1m 41s
    12. Exercise: Practicing fundamentals with geometry
      1m 21s
  6. 10m 38s
    1. Working a shot, revisited
      3m 21s
    2. Understanding the photographic impulse
      2m 58s
    3. Warming up
      2m 16s
    4. Exercise: Get your feet moving
      2m 3s
  7. 35m 7s
    1. Thirds: How rectangular frames are weighted
      2m 20s
    2. Tonal balance
      3m 52s
    3. Content balance
      1m 20s
    4. Squares: Weighting the corners
      2m 24s
    5. Composing people
      3m 42s
    6. Composing landscapes
      3m 53s
    7. Sometimes you can't get the shot
      1m 12s
    8. Practicing thirds with points and geometry
      1m 45s
    9. Practicing squares with points and geometry
      1m 12s
    10. Image analysis: The work of Steve Simon
      13m 27s
  8. 19m 6s
    1. It's the light
      1m 50s
    2. Direction of light
      8m 30s
    3. Texture
      2m 7s
    4. Shadows and negative space
      1m 19s
    5. Exposure concerns
      2m 44s
    6. Keeping one eye on post
      58s
    7. Light as subject
      1m 38s
  9. 18m 59s
    1. Introducing the workshop location and instructors
      1m 2s
    2. Assignment: Finding light
      5m 17s
    3. Shooting the light
      3m 14s
    4. Critiquing the light assignment
      9m 26s
  10. 22m 11s
    1. The basics of color
      1m 4s
    2. When to shoot color
      3m 56s
    3. How to shoot color
      2m 47s
    4. Practicing color composition
      1m 4s
    5. Image analysis: The work of Paul Taggart
      13m 20s
  11. 16m 48s
    1. Entry and exit
      5m 41s
    2. Framing
      2m 17s
    3. Examining the composition of this set
      2m 28s
    4. Narrative
      1m 55s
    5. When the scene doesn't fit in the frame
      3m 13s
    6. Guiding the viewer's eye
      1m 14s
  12. 13m 36s
    1. Assignment: Foreground and background
      3m 4s
    2. Shooting foreground and background relationships
      2m 19s
    3. Critiquing the foreground and background assignment
      8m 13s
  13. 34m 24s
    1. Planes
      5m 13s
    2. Controlling depth
      4m 54s
    3. Juxtaposition
      2m 58s
    4. Fear
      4m 3s
    5. Layers
      55s
    6. Image analysis: The work of Connie Imboden
      16m 21s
  14. 41m 21s
    1. Recomposing an image with the Crop tool
      7m 23s
    2. Resizing an image
      8m 9s
    3. Tone
      8m 54s
    4. Altering the perspective in Photoshop
      4m 38s
    5. Changing composition through retouching
      6m 16s
    6. Vignetting to drive attention
      6m 1s
  15. 10m 22s
    1. Workshop wrap-up and exhibition
      3m 13s
    2. Workshop students' final thoughts
      7m 9s
  16. 1m 0s
    1. Final thoughts
      1m 0s

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Foundations of Photography: Composition
5h 29m Intermediate Dec 22, 2011

Viewers: in countries Watching now:

Composition can make an interesting subject bland or make an ordinary subject appear beautiful. In this course, photographer and author Ben Long explores the concepts of composition, from basics such as the rule of thirds to more advanced topics such as the way the eye travels through a photo.

The course addresses how the camera differs from the eye and introduces composition fundamentals, such as balance and point of view. Ben also examines the importance of geometry, light, and color in composition, and looks at how composition can be improved with a variety of post-production techniques. Interspersed throughout the course are workshop sessions that capture the creative energy of a group of photography students; shooting assignments and exercises; and analyses of the work of photographers Paul Taggart and Connie Imboden.

Topics include:
  • Looking versus seeing
  • Understanding when and why to use black and white
  • Analyzing lines
  • Arranging the elements into lines and shapes
  • Working with perspective and symmetry
  • Changing focal length, camera position, and depth
  • Dividing rectangular frames into thirds
  • Weighting the corners in square pictures
  • Composing photographs of people
  • Composing landscape photos
  • Working with light: direction, texture, and negative space
  • How to shoot color
  • Guiding the viewer’s eye
  • Controlling depth
  • Improving composition in post-production
Subjects:
Photography Photography Foundations
Software:
Photoshop
Author:
Ben Long

Image analysis: The work of Paul Taggart

Ben: All right we are back for more image analysis. We've got a different photographer up here on the chopping block this time. We are going to look at the work of Paul Taggart, an international photo journalist. I first met Paul here at Arts Institute also, he is also a former student. Fantastic photographer, you might have seen his work in the New York Times or Time Magazine, any number of other journalistic institutions. And we have got a little selection of Paul's work here, starting with this one. It's a powerful image. Connie: It's a very powerful image. Ben: So much so that we didn't know what to say.

Connie: Right, it left me speechless. What I love about this image is this very dark figure here. That's a little soft focus. You don't see any -- it's all silhouette, you don't see any features against this really brilliant white background and everything in the photograph is really pulling us up to that. That is such a mysterious moment. It really almost takes your breath away. Ben: Well, particularly as you're drawn here first, to me it's -- there's a wonderful two step thing that happens here, she almost looks like a bride of some kind, you're lured into this place of like oh! I am going into the light and here this, oh! And as your eye starts moving around you realize this is much more sinister scene than maybe you initially thought, and it really has power.

This is a hospital and there is something in this bed here. There's some nice vignetting going on also that's really directing attention. Connie: The relationship between this form and this form becomes so powerful and part of it is that, that this figure is right in the middle of this form right here and then again you've got the environment here which is giving you the context for that relationship. Ben: And this is almost just a straight geometric pattern here. I also like that this line is going through her head not above or below her or his head, through the figure's head.

Very formal, but a tremendous amount of power in this image, great example of the power of direction of light also. Connie: This image I love for its simplicity and clever seeing. I love that. So obviously we're looking into a mirror here, we have three figures that are lining up here, but then we have this wonderful crack that's going through the mirror. So in just these few graphic elements he's given us a tremendous amount of information.

Ben: And created a very well- balanced photo, the crack really ties everything together. And there is -- you could almost create a metaphorical context into the crack if this is trouble and it adds a little bit of an extra element to this scene. Connie: This is also one that gives you not just the information of what's going on, but gives you the emotional impact of that information with this very strong figure here taking up more than half of the photograph with these really rich dark tones, and because we see a little bit of his facial features here, but not so much. It's not the person here and that's important, but the symbol of the person with this rich strong dark head.

And then we are given additional information back here which gives us more of a context again. Ben: It's fascinating because this guy, this is a human profile right in the foreground of image as you said taking up half the shot, and yet it's really this guy who is almost the subject of the image. This is an indicator, but this is the guy that we are really looking at. This is also I think just compositionally just -- he's been so meticulous and perfect in his form. If there was any less space here, if this was cropped at all, if this was cropped at all we would have trouble, it's just a -- he was doing the basic work in the middle of this rapidly developing scene.

Connie: This is one if we analyze just on a purely graphic level, compositionally is brilliant because you've got this form coming across like this which is perfectly framing these two faces, and then you've got this form going across like this which is again balancing them, and then you have this form reiterated down here. So everything -- all of the graphic elements are working together in this piece to pull us right into these two figures.

Ben: And I think there is something else going on here. Paul does a lot of war photography and like all of the best war photographers, he has his good strong formal chops, he's working these things that Connie just said, and yet somehow he is able to do that in a situation that's potentially tense, while never losing track of the humanity in the moment. The choice of expressions on these guys' faces is very interesting. There is a story here. They're getting some news that's pretty good news and there's just something tense about police guys with big rifles getting good news that can be turning either way depending on what side you are on.

There is a lot of story in this image. Connie: Before we move away, just pointing out that if he had made a different decision here and this background had gone through the back of his head, we would've really lost the impact of his position here and the importance of his gesture and expression. Ben: Well, I think, I'm not sure if it's obvious at home, this is barbed wire. So he's looking through barbed wire which is giving this whole other context. I'm thinking this is in the foreground. Connie: Oh! Well, then it's even better that it didn't run cross his face.

(laughter) Ben: Exactly, would have been messy. Connie: Well, this is kind of a similar -- he has a style about him for sure, you know and bringing some figures in the foreground here that have such strong features and really set the mood of the photograph, and then giving us these other details in the back here that are really reemphasizing. Ben: There's so much in this image that works just the formal composition, but also the immediacy, his choice of camera position, his choice of point of view, I feel like I am standing here with these guys. And I just love the cropped faces and that they're both looking into the camera and he is not.

It's a wonderful moment. Connie: And again because he came in close and cropped off the top of this guy's head, it feels like it's more immediate, more candid, more intimate. Ben: Yeah it really feels like a moment and yeah, perfectly well-crafted at the same time. And again that's getting back to -- he is doing his formal work and yet he is still staying in touch with the people that he is shooting and knowing where the exact moment is and that is really not easy to do.

This is a great example again of shadow and negative space. It would be easy to pull detail out of here and he has very wisely chosen not to, it's creating wonderful framing. I like the sweep of the image into here with the lines, and it's a very intimate shot, which it should be for what it is. Connie: And this wonderful little figure coming in from the side here. Ben: Yeah looking at us. Connie: It feels like we're looking at a family doing a very intimate family thing.

Ben: Yeah amazing. Connie: It's amazing that we can see this. Ben: Yeah to get access to that again, we are talking about someone who's been working to build trust, working to get the inside story and the inside access. All righty then, Connie and I have a disagreement about this image and she's got a pencil so I am little worried. She thinks it doesn't work, she's wrong. (laughter) Connie: I love this photographer, I just want to say. Okay do you want to present your case first? Ben: No, no go ahead.

Connie: Well, what I think this image is about is this figure here against this boat here, and giving us the context that there is a lot of destruction going on here. That this is in the middle of rubble. But as I look at this I see that this is too overwhelming. It's very bright and the eye always goes to the lighter part of the print first. And so we are really drawn into this, and it's out of focus and taking up more than half of the photograph.

I think this photograph would have been stronger if he had given us much less, enough still to tell us what this is and maybe even coming in a little bit like this, so that we are really concentrating on this. And I hate to do this to another photographer's photograph. Ben: It's okay, you're wrong, so it doesn't bother me. Connie: (laughs) Okay. Ben: I absolutely see what you are talking about, and I don't know why, but for some reason I don't have a problem with him, my eye just goes right here. And I think partly it may be the color information, the yellow against the pink is enough of a difference, enough of an eye magnet that it's outweighing this.

I like the economy of the image. This is the Tsunami in Japan and the economy of rubble, plainly what is a boat. This is another great example that you can trust viewer, we don't have to see a whole boat we know this is what this is, a guy with a breathing mask on. I see what you're saying and I can understand why it shouldn't work and yeah when the first time I looked at this image, I just went right there. So I think there's a good lesson to be had here, which is that Connie is wrong.

And also that there can be -- there are no rules. We can sit here and talk about well this line should be here and this line should be here, and yet you can show the same image to someone else and it just doesn't work sometimes. And that's how it goes. Connie: And ultimately it's your decision. You the photographer, it's your decision. Going through this process is really important because you understand, you know as we explain what works for me and what doesn't work for me, it helps you to understand how the image works, doesn't work, how the flow is about, and then you make up your own mind about what's the most important thing.

Well, I think this is so beautiful because of the, again the sparse information, but and we're looking at something that is very difficult to look at. It's a very tragic scene, but he's showing it to us in an aesthetically beautiful way. We've got these bags which I assume are holding bodies, and these bags are balanced with the mountains in the background and then picking up this lovely blue of the sky, so there is this wonderful relationship here.

And then we've got just enough information -- you want to, your curiosity is piqued so you want to come into the image, it brings you into it and this is what I assume looks like a plane crash. Ben: Or trouble of some kind, yeah. Connie: Yeah, so there's a very narrative quality to this image, and we may not know the truth, we have no verbal context for this, but we can really understand at least the feeling of what's going on. Ben: These three elements just make a nice geometric form and I don't want to go too formal because one of the things that impresses me about this is it's a very -- through his formalism and his composition there's a lot of care and concern for what has happened here built into this image.

Connie: Yes, a lot of respect. Ben: It's a very sensitive image and respectful. Connie: This is just a beautifully graphic image, and an amazing situation -- Ben: And by graphic you mean the graphical lines and -- Connie: Yes and the formal relationships of this, you know how this is going right across the frame, how this is entering the frame, you've got the iceberg back here. You've got this line coming down. So it's beautifully arranged, but you also get such exciting sense of what's going on here.

Ben: Yeah, a real difficult moment to capture in real-time because plainly things are changing quickly and he nailed it. It's our last one here and I just can't stop looking at this picture. Connie: Yeah, it's amazing. Ben: And this again sums up a lot of what we've been saying about Paul's work. Really perfect formalism here and yet at the same time staying in touch with the reality of the moment and the reality of this guy, the expression on his face is exactly right for the giant boat that's bearing down on you. He has just really nailed it. Connie: But look at how sensitive he is visually, all of this is going on.

I mean it has got to be totally chaotic, but look at how sensitive he is in creating this form. It's not crossing this form. Ben: It's perfectly separated. Connie: So this form is very strong and powerful. If he had been confused with this form, it wouldn't have had that same sense of gigantic power coming imploding on top of you -- Ben: It would have been lost. Connie: Yeah it would have been lost and the sense of the moment here is just exquisite. So to balance that kind of composition with sense of moment I think is incredible. Ben: Again that's Paul Taggart.

That's the work Paul Taggart, photojournalist. And it's really -- we could keep looking at his stuff all day long. But next up we are going to looking at some of Connie's work and I'm going to have the pencil. (laughter)

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