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Juxtaposition

From: Foundations of Photography: Composition

Video: Juxtaposition

Another way to think about layers is to think about collaging or juxtaposing things at different depths into the same frame. Reflections are a great way to experiment with this. Notice the reflection of the water tower in the puddle here, and we've got the water tower in the background. These are technically different layers, and there is a lot of other stuff going on in front of the water tower and in the puddle itself. This is a really interesting easy way to start seeing different planes, to look for reflections or to think about what you would do if you were collaging, taking disparate elements and putting them next to each other or thinking I am going to juxtapose this building with that water tower.

Juxtaposition

Another way to think about layers is to think about collaging or juxtaposing things at different depths into the same frame. Reflections are a great way to experiment with this. Notice the reflection of the water tower in the puddle here, and we've got the water tower in the background. These are technically different layers, and there is a lot of other stuff going on in front of the water tower and in the puddle itself. This is a really interesting easy way to start seeing different planes, to look for reflections or to think about what you would do if you were collaging, taking disparate elements and putting them next to each other or thinking I am going to juxtapose this building with that water tower.

These are all ways of kind of changing the language that you're using around layering and possibly opening up more ideas for yourself. Let's take a look at some others. So this one is pretty straightforward. I'm simply mirroring this shape down here with this shape up here. Purely a geometric exercise. Obviously, there is no real correlation between dry mud and a mountain. I'm relating these two very different bits of subject matter compositionally, or graphically, and just looking for shapes that create nice symmetry and that juxtapose well.

Here is a case of I was first struck by the light that was striking these boards. It was very silvery. It was very pretty. But I also just liked what was going on outside the window. So I have kind of balanced and built the composition to include the window content and I need to do some post-production here to bring some detail back into here, because this is a very high-dynamic-range situation. We are looking into this bright window washed out. So I have these nice strong lines that are lit up that here I obviously can't really come in left to right here.

But it does follow these lines, and the whole thing kind of swirls around and ultimately ends at the window. So juxtaposing these strong lines with this view that's outside in the distance is kind of what I am working on here. This is a framing example that we use elsewhere in this course, but it's a great example of layers in an image, of juxtaposition of a shape right in front of the camera with a shape way in the distance. And of course, you look at this and you understand, well yeah, this is up close and this is far away. But of course in a purely graphical sense, we are looking at a flat, two-dimensional image, and so I am juxtaposing these shapes against these shapes.

So, when we were talking about juxtaposition, we are often very much thinking in a purely theoretical graphic-design kind of sense of this line and this line sitting next to each other, even though in reality they're very far way. You can play with juxtaposing tone, juxtaposing color. Layering is another way of thinking about this. I've got this layer in front and a layer in back. We are going to be talking more about layering elsewhere in this course, but that's another way of thinking about juxtaposition. Thinking in these terms is a good way of breaking up your normal seeing habits and starting to think of the world as a place with more depth and more combinations and more graphic play.

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Foundations of Photography: Composition

86 video lessons · 54494 viewers

Ben Long
Author

 
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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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