The Art of Emulation: Exploring Techniques and Creativity in Photography

As we delve into the world of photography, one of the most effective ways to learn is by emulating the work of other photographers. This involves analyzing the original photograph, understanding the techniques used, and then applying those same techniques to create your own interpretation. The key to this process is to understand the intention behind the original photograph, including the role of light, contrast, shapes, and symmetry.

One of the most striking examples of emulation is the image of an egg submerged in water, where the principles of refraction come into play. By using glass panels and a body of water, the photographer creates a symmetrical pattern that appears to be multiple eggs, all formed by the same object. This technique can be reinterpreted in various ways, using different materials to achieve a similar effect. For instance, one might experiment with other surfaces or shapes to create a unique visual representation.

The power of emulation also lies in its ability to reveal underlying principles and techniques. In the case of the egg photograph, it becomes clear that light plays a crucial role in creating contrast. The white egg stands out against the darker background, making it an ideal subject for exploration. By understanding this principle, photographers can experiment with different objects and materials to create similar contrasts.

Another aspect of emulation is the importance of perspective and intention. When we look at an original photograph, we often assume that the photographer's intention was to convey a specific message or idea. However, by reinterpreting the same image, we can begin to see new patterns and meanings emerge. For example, the Brooklyn Bridge photograph by Roshi Sugimoto is taken out of focus, creating a blurred effect that obscures the details of the scene. Yet, despite this, the viewer still retains an overall sense of the bridge's presence.

To truly master the art of emulation, one must be willing to experiment and challenge their own creative patterns. As Edward de Bono once said, "Creativity is a pattern." By recognizing and breaking free from these patterns, we can tap into our full potential as photographers. This involves embracing frustration and anger, as well as being open to new ideas and perspectives.

In the context of emulation, this means that we should be willing to try new techniques, experiment with different materials, and push ourselves outside of our comfort zones. By doing so, we can unlock new levels of creativity and innovation in our work. The next step is to take these concepts and apply them to your own photography practice, reinterpreting the original images while adding your unique voice and statement.

The process begins by identifying what you've learned from emulating the original photograph. This might include understanding the techniques used, the role of light and contrast, or the importance of symmetry. As you analyze the image, consider how these principles can be applied to create new and interesting effects. For instance, you might experiment with different materials or objects to achieve a similar effect.

The next step is to re-imagine the original photograph using your own interpretation. This means not only retaining the underlying principles but also adding your unique perspective and voice to the image. By doing so, you'll be able to create a truly original work that reflects your style and vision.

As we continue on this journey of emulation, it's essential to remember that creativity is a skill that can be developed over time with practice and experimentation. By embracing frustration, anger, and uncertainty, we can tap into our full potential as photographers and unlock new levels of innovation and expression in our work.

"WEBVTTKind: captionsLanguage: enthis video is brought to you by Squarespace from websites and online stores to marketing tools and analytics Squarespace is the all-in-one platform to build a beautiful online presence and run your business welcome back everybody in this video I want to get back to some basics today I want to talk just about photography we're not gonna talk about cameras lenses phones and none of that stuff I want to talk about creating images and I want to talk specifically about developing your own voice as a photographer what it means to communicate visually so I've been doing these videos for about 12 years now and this is a topic that I like to come back to from time to time because I think it's really important you know a lot of times you will hear people say that as a photographer it's really important to develop your own style and I really am NOT a big fan of the word style because style implies that it's only about the aesthetic and sure there are photographers that work with a specific aesthetic a certain look you can identify their work right off the bat you know who did it because they kind of own up to that aesthetic but I think photography is so much more than that which is why I like to call it a visual language and so if you consider some photographers will convey a sense of emotion through their photographs it's not about the aesthetic but it's somehow you are identifying with the subjects in the picture however that's done there's also conceptual work that aims to make you think a little bit differently or kind of plays a trick on your mind there's all kinds of work and there's such a breadth to all this so that's why I prefer the term visual communication a lot more than I do style but that's what we're gonna talk about today so let's talk about what makes one unique as a photographer and how you get your personality into your work so I think the first step of this is pretty easy because it's pretty much predetermined everybody's a little bit different you have different tastes than me we agree on some things we probably disagree on some things and that's okay that's what makes things interesting so how do we get that into our work what makes somebody stand out I have an example here that I want to share with you that is one of my favorites what if we took one specific subject that has been photographed by many different photographers and look at what some of those differences are I think this probably will surprise you it's for this example we are going to look at the Brooklyn Bridge chances are if you have ever visited New York City you have been to the Brooklyn Bridge if you haven't you must is something that I try to do at least once every time I'm in New York City and a little pro tip here it's really cool at night and it's an amazing walk but what I love about it is because you have this amazing architecture and you have two cities on either side Brooklyn is very much built up in the last 10 20 years and you have Manhattan so it's this wonderful feeling of old meets new it's a beautiful walk especially if the weather's nice and it's just an amazing place to be but what's interesting is in researching this I found seven different photographers who all had different interpretations and what's interesting is they all kind of use similar vantage points they're not all from the exact same vantage point but this is really interesting to look at how seven different photographers interpret the same thing this first example we've been looking at was done by Alexander Allen what's interesting is you're gonna notice that this is the only one that uses a person in there so it does give you a sense of scale to what it is that you're looking at when I move on this is Andrea's finding her and if you're familiar with finding Gers work this definitely looks right up his alley I love the use of symmetry this is a dramatic angle that you're going to see reinterpreted in very different ways as we move along such as this next example who was done one by one of my favorite photographers this is Tom Burrell there's a sense of time in this image in many ways first of all this is a pinhole image that was shot on the old Polaroid type 55 film you can see the frame lines that that negative would give you as it was sandwiched into the Polaroid pack there and this was a fairly long exposure you can tell by the blur in the clouds and also we have a sense of point in time in that the Twin Towers can be seen on the lower right-hand side of the image we don't have anybody in here for scale which is kind of interesting next we move on to Walker Evans again classic Walker Evans and look what he's done he's taken the symmetry and rather than putting that point of where you're leading everyone's eye right into the center of where all those ropes lead he's just moved it off-center and so it's a really subtle move but it gives such a great feeling to it and it's very unique it's his interpretation next one is one of my favorites this is a photographer you may or may not know this is JJ Hertz and this is actually in the collection at the Museum of Modern Art in New York this was done I believe in the 20s I forgot to look up these dates before I started recording but this one he used basically water after a rainstorm that had gathered on the bottom of the bridge they're used as a reflection so we have a very different type of symmetry that's going on in this it's very very cool next up is Michael Kenna who is a contemporary photographer who is very well known for landscape images that he creates very minimalist vibe to them very high contrast black and white and this is definitely classic Kenna interestingly enough here he took the same scene he's interpreted it with what we call the Dutch angle where it's tilted a little bit to the side and then finally a very conceptual interpretation of the Brooklyn Bridge this is another one of my favorites this is Hiro she's Sugimoto it was a Japanese conceptual photographer and it does just amazing work he did an entire series of these images that first glance they look out-of-focus now they deal with this concept that he calls infinity times 2 or double infinity so the whole idea is that if you have if you're working with focus within the camera and like for instance back here I have a view camera this is a rail focus system so it's a rail system you have two what we call standards on the rear standard is where you mount your film and on the front standard is where you mount the lens and you can get in focus by moving them either towards one another or away from one another on that focusing rail and so there is a point where you can get to infinity and this is usually where most modern lenses that you would use on an SLR or something like that this is where they stop they stop at infinity this one is a rail system so technically you can go beyond infinity right so this gets a little weird but what it does is it starts going back out of focus but rather than being closer than infinity it's technically further than infinity so this is not supposed to exist in nature however you can do it on a camera here oh she's Sugimoto did an entire series of architectural photographs using this technique a lot of them look kind of blurry and out of focus but what's really cool about them even though it's high contrast as they are you can still tell whatever Monument or Architecture he's shooting and it's an incredible series of work that he did pretty extensive but this is his interpretation of the Brooklyn Bridge so if you look at all these together we have one subject and we have many voices that are interpreting this in very different ways no two photographs are really alike now it is important to note that these are not just snapshots that I pulled these are actually accomplished photographers with a great deal of experience and knowledge and understanding of photography under their belts they do this all the time and they're kind of the best of the best in many ways but I thought it would be interesting to see how that interpretation works so what can we learn from this I want to get into another photo assignment and this is where I'm going with this but real quick I want to stop and give a shout-out to our sponsor today we're the awesome folks over at squarespace.com present your photography using squarespace's modern professional portfolios the layouts are completely customizable and you can use squarespace's drag-and-drop based back-end system which is really easy to use to present your work the way that you want it seen Squarespace is an all-in-one platform for building beautiful websites easily claiming your domain or URL and creating a custom site that brings your ideas to life Squarespace is host to a number of other tools including ecommerce appointment scheduling and analytics so that you can grow your brand and your following so head over to Squarespace calm for a free trial and when you're ready to launch you can go to Squarespace calm slash AOP to save an additional 10% off your first purchase of a website or domain once again that is Squarespace calm / AOP and I want to thank the folks at Squarespace for sponsoring another episode of the art and photography so let's talk photo assignments so we've only done one photo assignment this year and it was intentional on my part to stretch that out I did several videos on it I actually worked alongside you guys on I wanted to give you time to not only think about it but to learn it and to repeat it a few times and if you haven't seen that video or you want to get into the photo assignment haven't done it yet I will link it up here but the photo assignment was about copying and in this case we took the work of the famous Czech photographer Joseph Sudak who did these amazing little still lifes so these can all be done indoors with household objects that you might have at your disposal and what I wanted you guys to do is to really hone in pick one of those photographs and try to copy it as close as you possibly could everything from the placement of the objects to the lighting which is a really important element in his work to maybe even in the post-processing and I haven't done much on that but like get it to look exactly like it because that's where the learning is going to begin it's always been a little bit fascinating to me that this is something that photographers just don't do very much or they do it and then try to pass it off as something that's really unique when really this is just a learning exercise but learning is the key and so for example when I was in high school I started playing guitar and I really wanted to get into jazz and I wanted to learn how improvise and so that's exactly how I went about it if you want to learn how to improvise over record changes go find guitar players that you like and in my case I would play in West Montgomery or Pat Metheny or whoever that was you transcribed their guitar solos learn how to play them exactly and then what you're doing is you're figuring out what they're doing you're starting to learn you're starting to understand and it gives you a starting point where you can start building your own voice on top of that not that I was ever very successful at that but that's the idea behind it and this is not limited just to music I think any discipline we learned by standing on the shoulders of what came before so this could be in the medical field it could be in the legal field it could be software coding you're not going to just set out to become a doctor and try to learn everything on your own just by kind of messing around with things and then you're going to make your mark after that you start with what's taught what come came before you you do your learning in advance you emulate certain things and then you get to a point and this is what makes any of these disciplines progress forward I think this holds true for anything like like I was saying medicine is my example but software coding is the same way I think music is like that and I think visual art is like that too and so it's always been just a little bit weird to me that photographers don't embrace this more than they do another thing is important to emphasize about copying is you've got to understand why you're doing it you're not copying someone so that you can just take over and shoot in that style let's say the word that I don't like very much but what you're doing is you're taking it as a starting point a place to start learning and then you're gonna at some point have to take that and go in a different direction and develop your own voice and so what we're gonna do for this next photo assignment assuming you've done the first one and that you're happy with the results that you're getting you've probably learned a lot out of it so now it's time to take what we've learned and start experimenting a little bit to apply our own voice and what we're hopefully going to do is take that as a starting point and come up with something that's entirely different in the end got a couple images that I pulled from Instagram of work that people actually submitted for this and I think the results were really outstanding it was really impressed to see people really going for it and really trying to match this up exactly as possible what you're gonna learn in a lot of sue decks work is that light is a big part of this and what is the light doing how is he working with contrast how does this work with shapes and symmetry what is the intention of the photograph how sudoc interpreted that I even had one that came to me in the mail is a postcard which is very cool seen a lot of black and white still lifes in the last couple weeks this is from Tony I believe you can check his work out here so the first step in all of this is what did you learn by emulating the original photograph or maybe you did this a couple different times so what techniques did you learn what was the point of each one of those photos I think one of the most obvious examples is the image that I showed you guys where you have an egg behind water and what happens because you have the panels on the glass and you have water in the glasses we have a concept called refraction and basically what that means is it scatters the light in different direction so the result is is that we see many different eggs in kind of a symmetrical pattern that are really only formed by one egg but it's the refraction that makes it look like multiples so take refraction and now reinterpret it your own way maybe use something other than a glass it's going to take some thought and you're gonna have to experiment and kind of research different materials that will give you refraction and what you could possibly do visually within that set of parameters but now you're taking that and you're taking it a step further and you're going to start putting your own voice and statement on the top of that as you go through this process another one I really liked was the one I started with because I thought it would be really easy and really quick to do and I could move on to some others was this simple shot of the egg and what you realize is this is about light it's about where the light is coming in from what angle it's about symmetry you see a pattern in the grain you see the egg in juxtaposition to that there's a lot that's going on there now you also see contrast the egg is white and I think that that's why the egg shows up a lot in SU Dex work it's a point of bright contrast so how could you create those same things maybe using different objects or maybe you use the same objects these are all black and white maybe make a color interpretation of this and can you maintain that simplicity using color because color is gonna introduce a lot more information into the picture so it's going to take away some of the focus no pun intended of what is being communicated in the original that's why a lot of people work in black and white because it takes information out and it puts you at one with the subject and so it's just a very different look but how could you work in color so take these reinterpret them add your own spend to it and that's where you want to take this and that's where magic starts to happen to Roshi Sugimoto took the Brooklyn Bridge and shot it out of focus so maybe there's a way you can shoot your scene out of focus but the thing is is you've got to retain what was already being said in the original why are you shooting it out of focus can you still make out the objects that are in it or is it just becoming a blurred mess this is going to lead to experimentation and this is it's out of this range to talk about in this video so maybe I should do a whole dedicated video on it but you know when you get into creativity in people who have professionally researched creativity one of my favorites is Edward de Bono one of the things that he addresses is that we as people we work in patterns and a lot of times for people creativity is a pattern so maybe you're a songwriter and there's a specific way you write a song and whenever you want to try to be more creative and you want to move outside that structure you don't realize that you're thinking in patterns you're just doing something the same way so I'm a big fan of anything that can break up patterns because this is when you're gonna have to get frustrated you're gonna get angry at times you're gonna have to think about things differently and this is when you start to approach things differently so I will be doing this along with you guys and then the next week or so give or take because I think I learned a lot from the last one and so I'm just kind of greedy about this one I want to learn from it too because I think it's a cool idea and I want to see where we can take it so if you have any questions please drop me a comment below until the next video I will see you guys then laterthis video is brought to you by Squarespace from websites and online stores to marketing tools and analytics Squarespace is the all-in-one platform to build a beautiful online presence and run your business welcome back everybody in this video I want to get back to some basics today I want to talk just about photography we're not gonna talk about cameras lenses phones and none of that stuff I want to talk about creating images and I want to talk specifically about developing your own voice as a photographer what it means to communicate visually so I've been doing these videos for about 12 years now and this is a topic that I like to come back to from time to time because I think it's really important you know a lot of times you will hear people say that as a photographer it's really important to develop your own style and I really am NOT a big fan of the word style because style implies that it's only about the aesthetic and sure there are photographers that work with a specific aesthetic a certain look you can identify their work right off the bat you know who did it because they kind of own up to that aesthetic but I think photography is so much more than that which is why I like to call it a visual language and so if you consider some photographers will convey a sense of emotion through their photographs it's not about the aesthetic but it's somehow you are identifying with the subjects in the picture however that's done there's also conceptual work that aims to make you think a little bit differently or kind of plays a trick on your mind there's all kinds of work and there's such a breadth to all this so that's why I prefer the term visual communication a lot more than I do style but that's what we're gonna talk about today so let's talk about what makes one unique as a photographer and how you get your personality into your work so I think the first step of this is pretty easy because it's pretty much predetermined everybody's a little bit different you have different tastes than me we agree on some things we probably disagree on some things and that's okay that's what makes things interesting so how do we get that into our work what makes somebody stand out I have an example here that I want to share with you that is one of my favorites what if we took one specific subject that has been photographed by many different photographers and look at what some of those differences are I think this probably will surprise you it's for this example we are going to look at the Brooklyn Bridge chances are if you have ever visited New York City you have been to the Brooklyn Bridge if you haven't you must is something that I try to do at least once every time I'm in New York City and a little pro tip here it's really cool at night and it's an amazing walk but what I love about it is because you have this amazing architecture and you have two cities on either side Brooklyn is very much built up in the last 10 20 years and you have Manhattan so it's this wonderful feeling of old meets new it's a beautiful walk especially if the weather's nice and it's just an amazing place to be but what's interesting is in researching this I found seven different photographers who all had different interpretations and what's interesting is they all kind of use similar vantage points they're not all from the exact same vantage point but this is really interesting to look at how seven different photographers interpret the same thing this first example we've been looking at was done by Alexander Allen what's interesting is you're gonna notice that this is the only one that uses a person in there so it does give you a sense of scale to what it is that you're looking at when I move on this is Andrea's finding her and if you're familiar with finding Gers work this definitely looks right up his alley I love the use of symmetry this is a dramatic angle that you're going to see reinterpreted in very different ways as we move along such as this next example who was done one by one of my favorite photographers this is Tom Burrell there's a sense of time in this image in many ways first of all this is a pinhole image that was shot on the old Polaroid type 55 film you can see the frame lines that that negative would give you as it was sandwiched into the Polaroid pack there and this was a fairly long exposure you can tell by the blur in the clouds and also we have a sense of point in time in that the Twin Towers can be seen on the lower right-hand side of the image we don't have anybody in here for scale which is kind of interesting next we move on to Walker Evans again classic Walker Evans and look what he's done he's taken the symmetry and rather than putting that point of where you're leading everyone's eye right into the center of where all those ropes lead he's just moved it off-center and so it's a really subtle move but it gives such a great feeling to it and it's very unique it's his interpretation next one is one of my favorites this is a photographer you may or may not know this is JJ Hertz and this is actually in the collection at the Museum of Modern Art in New York this was done I believe in the 20s I forgot to look up these dates before I started recording but this one he used basically water after a rainstorm that had gathered on the bottom of the bridge they're used as a reflection so we have a very different type of symmetry that's going on in this it's very very cool next up is Michael Kenna who is a contemporary photographer who is very well known for landscape images that he creates very minimalist vibe to them very high contrast black and white and this is definitely classic Kenna interestingly enough here he took the same scene he's interpreted it with what we call the Dutch angle where it's tilted a little bit to the side and then finally a very conceptual interpretation of the Brooklyn Bridge this is another one of my favorites this is Hiro she's Sugimoto it was a Japanese conceptual photographer and it does just amazing work he did an entire series of these images that first glance they look out-of-focus now they deal with this concept that he calls infinity times 2 or double infinity so the whole idea is that if you have if you're working with focus within the camera and like for instance back here I have a view camera this is a rail focus system so it's a rail system you have two what we call standards on the rear standard is where you mount your film and on the front standard is where you mount the lens and you can get in focus by moving them either towards one another or away from one another on that focusing rail and so there is a point where you can get to infinity and this is usually where most modern lenses that you would use on an SLR or something like that this is where they stop they stop at infinity this one is a rail system so technically you can go beyond infinity right so this gets a little weird but what it does is it starts going back out of focus but rather than being closer than infinity it's technically further than infinity so this is not supposed to exist in nature however you can do it on a camera here oh she's Sugimoto did an entire series of architectural photographs using this technique a lot of them look kind of blurry and out of focus but what's really cool about them even though it's high contrast as they are you can still tell whatever Monument or Architecture he's shooting and it's an incredible series of work that he did pretty extensive but this is his interpretation of the Brooklyn Bridge so if you look at all these together we have one subject and we have many voices that are interpreting this in very different ways no two photographs are really alike now it is important to note that these are not just snapshots that I pulled these are actually accomplished photographers with a great deal of experience and knowledge and understanding of photography under their belts they do this all the time and they're kind of the best of the best in many ways but I thought it would be interesting to see how that interpretation works so what can we learn from this I want to get into another photo assignment and this is where I'm going with this but real quick I want to stop and give a shout-out to our sponsor today we're the awesome folks over at squarespace.com present your photography using squarespace's modern professional portfolios the layouts are completely customizable and you can use squarespace's drag-and-drop based back-end system which is really easy to use to present your work the way that you want it seen Squarespace is an all-in-one platform for building beautiful websites easily claiming your domain or URL and creating a custom site that brings your ideas to life Squarespace is host to a number of other tools including ecommerce appointment scheduling and analytics so that you can grow your brand and your following so head over to Squarespace calm for a free trial and when you're ready to launch you can go to Squarespace calm slash AOP to save an additional 10% off your first purchase of a website or domain once again that is Squarespace calm / AOP and I want to thank the folks at Squarespace for sponsoring another episode of the art and photography so let's talk photo assignments so we've only done one photo assignment this year and it was intentional on my part to stretch that out I did several videos on it I actually worked alongside you guys on I wanted to give you time to not only think about it but to learn it and to repeat it a few times and if you haven't seen that video or you want to get into the photo assignment haven't done it yet I will link it up here but the photo assignment was about copying and in this case we took the work of the famous Czech photographer Joseph Sudak who did these amazing little still lifes so these can all be done indoors with household objects that you might have at your disposal and what I wanted you guys to do is to really hone in pick one of those photographs and try to copy it as close as you possibly could everything from the placement of the objects to the lighting which is a really important element in his work to maybe even in the post-processing and I haven't done much on that but like get it to look exactly like it because that's where the learning is going to begin it's always been a little bit fascinating to me that this is something that photographers just don't do very much or they do it and then try to pass it off as something that's really unique when really this is just a learning exercise but learning is the key and so for example when I was in high school I started playing guitar and I really wanted to get into jazz and I wanted to learn how improvise and so that's exactly how I went about it if you want to learn how to improvise over record changes go find guitar players that you like and in my case I would play in West Montgomery or Pat Metheny or whoever that was you transcribed their guitar solos learn how to play them exactly and then what you're doing is you're figuring out what they're doing you're starting to learn you're starting to understand and it gives you a starting point where you can start building your own voice on top of that not that I was ever very successful at that but that's the idea behind it and this is not limited just to music I think any discipline we learned by standing on the shoulders of what came before so this could be in the medical field it could be in the legal field it could be software coding you're not going to just set out to become a doctor and try to learn everything on your own just by kind of messing around with things and then you're going to make your mark after that you start with what's taught what come came before you you do your learning in advance you emulate certain things and then you get to a point and this is what makes any of these disciplines progress forward I think this holds true for anything like like I was saying medicine is my example but software coding is the same way I think music is like that and I think visual art is like that too and so it's always been just a little bit weird to me that photographers don't embrace this more than they do another thing is important to emphasize about copying is you've got to understand why you're doing it you're not copying someone so that you can just take over and shoot in that style let's say the word that I don't like very much but what you're doing is you're taking it as a starting point a place to start learning and then you're gonna at some point have to take that and go in a different direction and develop your own voice and so what we're gonna do for this next photo assignment assuming you've done the first one and that you're happy with the results that you're getting you've probably learned a lot out of it so now it's time to take what we've learned and start experimenting a little bit to apply our own voice and what we're hopefully going to do is take that as a starting point and come up with something that's entirely different in the end got a couple images that I pulled from Instagram of work that people actually submitted for this and I think the results were really outstanding it was really impressed to see people really going for it and really trying to match this up exactly as possible what you're gonna learn in a lot of sue decks work is that light is a big part of this and what is the light doing how is he working with contrast how does this work with shapes and symmetry what is the intention of the photograph how sudoc interpreted that I even had one that came to me in the mail is a postcard which is very cool seen a lot of black and white still lifes in the last couple weeks this is from Tony I believe you can check his work out here so the first step in all of this is what did you learn by emulating the original photograph or maybe you did this a couple different times so what techniques did you learn what was the point of each one of those photos I think one of the most obvious examples is the image that I showed you guys where you have an egg behind water and what happens because you have the panels on the glass and you have water in the glasses we have a concept called refraction and basically what that means is it scatters the light in different direction so the result is is that we see many different eggs in kind of a symmetrical pattern that are really only formed by one egg but it's the refraction that makes it look like multiples so take refraction and now reinterpret it your own way maybe use something other than a glass it's going to take some thought and you're gonna have to experiment and kind of research different materials that will give you refraction and what you could possibly do visually within that set of parameters but now you're taking that and you're taking it a step further and you're going to start putting your own voice and statement on the top of that as you go through this process another one I really liked was the one I started with because I thought it would be really easy and really quick to do and I could move on to some others was this simple shot of the egg and what you realize is this is about light it's about where the light is coming in from what angle it's about symmetry you see a pattern in the grain you see the egg in juxtaposition to that there's a lot that's going on there now you also see contrast the egg is white and I think that that's why the egg shows up a lot in SU Dex work it's a point of bright contrast so how could you create those same things maybe using different objects or maybe you use the same objects these are all black and white maybe make a color interpretation of this and can you maintain that simplicity using color because color is gonna introduce a lot more information into the picture so it's going to take away some of the focus no pun intended of what is being communicated in the original that's why a lot of people work in black and white because it takes information out and it puts you at one with the subject and so it's just a very different look but how could you work in color so take these reinterpret them add your own spend to it and that's where you want to take this and that's where magic starts to happen to Roshi Sugimoto took the Brooklyn Bridge and shot it out of focus so maybe there's a way you can shoot your scene out of focus but the thing is is you've got to retain what was already being said in the original why are you shooting it out of focus can you still make out the objects that are in it or is it just becoming a blurred mess this is going to lead to experimentation and this is it's out of this range to talk about in this video so maybe I should do a whole dedicated video on it but you know when you get into creativity in people who have professionally researched creativity one of my favorites is Edward de Bono one of the things that he addresses is that we as people we work in patterns and a lot of times for people creativity is a pattern so maybe you're a songwriter and there's a specific way you write a song and whenever you want to try to be more creative and you want to move outside that structure you don't realize that you're thinking in patterns you're just doing something the same way so I'm a big fan of anything that can break up patterns because this is when you're gonna have to get frustrated you're gonna get angry at times you're gonna have to think about things differently and this is when you start to approach things differently so I will be doing this along with you guys and then the next week or so give or take because I think I learned a lot from the last one and so I'm just kind of greedy about this one I want to learn from it too because I think it's a cool idea and I want to see where we can take it so if you have any questions please drop me a comment below until the next video I will see you guys then later\n"