Behind the Shot - 3 - Creating a panel - A day out on the Dart | Joe Houghton | Skillshare

Behind the Shot - 3 - Creating a panel - A day out on the Dart

Joe Houghton, Passionate about business and photography!

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15 Lessons (20m)
    • 1. Introduction to "Creating a panel"

      0:45
    • 2. What is a panel?

      3:36
    • 3. 3

      1:40
    • 4. Using shapes and lines

      1:33
    • 5. Using layers and lines

      0:44
    • 6. Notice behaviours and shapes

      0:27
    • 7. More lines...

      0:47
    • 8. Directing the viewer

      0:55
    • 9. Mirroring directions

      0:39
    • 10. Convergence

      0:48
    • 11. Use reflections

      1:02
    • 12. Matching pairs

      1:23
    • 13. Light, light, light!

      1:00
    • 14. Designing your panel

      4:07
    • 15. Thanks for watching!

      0:41

About This Class

In this episode of "Behind the Shot" Joe takes a look at a process which many photographers have to go through when seeking distinctions from photographic clubs and societies - creating a panel.  

Using a panel he created - A day out on the Dart - Joe walks through the steps and thought processes behind crating a panel - an inter-related set of images telling a story.  

Shot decisions, post processing tips, and design ideas for putting effective panels together - this class is a great introduction to a medium which is very powerful and gives more scope for visual narrative than a single image might.

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Transcripts

1. Introduction to "Creating a panel": Thanks. Episode off Behind the shot is slightly different in that I want to know, Just look at one shot. But I want Teoh look, a panel of shots on. I want to just talk about and discuss that the benefits, perhaps off of thinking about when you're going out and shooting, shooting for a panel having in mind that you might assemble a collection of shots into a panel. 2. What is a panel?: So what's the panel? A panel is a collection of shots typically presented on a single page on a panel. May range from two or three shots up to. Perhaps it doesn't so in the example that I'm using today a day out on the dart, I have assembled 12 shots into a panel on the idea behind the panel is to tell a story. So we had a family day out on the light railway called the Dark, which runs up the East Coast off the Dublin coastline. On we took the Children out for for a day on. Guy went out that day thinking, I'm going to shoot a Siris of shots on DSI, whether I can then come up with a set of shots which which, if you like, tell the story of the day and give a sense of the day as a whole. So very often shooting a panel isn't something that you do without thinking about it. You actually put some thought into it, and it's if you like an intentional act off putting a panel together, it doesn't have to be done from one shoot. A lot of thief photographic societies who offer things like lie censure chips Andi. Higher and higher grades in the societies will require for people to advance through the different grades. They will submit a panel for a particular grade. So rather than being judged on just one photo, you're being judged on a number of photos on. They will be assessed for individual technical merit and emotional responses on all the normal stuff that you look at when you're judging an individual photo. But then also, the panel also becomes, if you like, an image of itself. So one of the things to think about when you are assembling a panel is the form off the panel, the coherence off the images which make up that panel, the flow from image to image through the panel on then the overall look off the panel as a whole as it's presented to the viewers almost as an individual image because it's it's a single sheet of paper or it's a single set of shots upon on a board. So my panel, a day out in the dart 12 photos I knew before I went out that day that I was going to make this a black and white panel. So I when I was looking for shots when I was looking through the viewfinder when I was taking the shots, I was thinking, This is going to be a black and white shots. So even when I looked through the viewfinder, I was I was thinking about contrast. I was thinking about tone. I was thinking about shape Andi thinking about this shot, not being a color shop but being a black and white shot. So again, the very often the idea off of shooting for a panel involves quite a lot of pre visualization and pre thought about the final output, which won't be probably what you're seeing through the viewfinder, because we don't see through the viewfinder like a might we see color on. We're taking color shots and then we're processing them later on into black and white 3. 3: if we start, um, with the lady top left, this lady was sitting on the train. Has we moved down the coast on? She was I actually had my back to her and and I I was, you know, just looking around the train carriage. And there she was in the corner. So I kind of put my head up over the the seat. Andan asked her whether she would mind me, me taking her her photo because I thought it was just a lovely a lovely shot of her reading her book. Andi, what particularly drew me to this particular image? Waas Not just her, because I mean, she's She's a beautiful study all in her in her own right. But then the poster just above her head off the little girl looking down, almost kind of looking over her shoulder, I thought was a lovely counterpoint to to the study of the lady herself. Andi, I could see that the colors off her scarf and her hat on the darkness of her coat would contrast nicely with the You know, the the slightly lighter tones of her face on have the book. So that was always going to work well as a shot on D. I was very pleased when she was happy to have a photograph taken. We had a good chat, actually, on the train. She knew where we were going. Great stones. Quite well. And, you know, gave us some advice about where to go for a male and stuff. 4. Using shapes and lines: the next shot is a different shot again. This is one of the nice things about street photography. About being out there isn't is that sometimes you're going to take shots where people aren't aware that their shot has been taken on. This was one of those, but it's also a form shot. It's also a shot where I've used the narrow angle between 22 of the train seats to draw the eye to the face of the chap sitting in the row behind. We've got contrast because the seats are quite dark. Onda man's face is nice and bright. We have some movement in terms of the V shape in the seats, which take the I to the face, which is obviously the brightest thing in the shot. On also the depth of field, the focus is very much on the man's face. On the narrow aperture means that the seats in the front or slightly out of focus, which again take the I to the point of the photo, which is the man's face sitting on the vertical left home third line on, then the man's face in the intersection point of the vertical third on the top of the horizontal third line 5. Using layers and lines: the next shot is is a shot just shot out of the window kind of classic landscape shot across the estuary. So we've got some foreground interest in the sand on. Then we We've got a band of water than the chimneys on then Quite a nice, interesting cloud scape which which kind of moves the eye through the through the image again the the main smokestacks There in the bottom left hand third intersection point the horizon line on the bottom thirds line for composition because the sky is a nice strong sky . 6. Notice behaviours and shapes: the next shot was was again, you know, classic street photography. Kind of just just on observation Shot. You know, two people sitting on the train completely unaware of each other in their own worlds, looking at their kindle and their phone. Nice shapes, whether the seat shapes. So it was just a pleasing shot. 7. More lines...: on, then the next shot along again, out of out of the window as we came out off Dublin City. Um, I think this shot was just before we crossed the the River Liffey going from north to South Tenement Building, or, Ah, a building block of flats seen through Cem fencing. And I I just liked The lines are like the lines of the fencing. I liked the converging lines of the flat on. It's just like, you know, you're on a train and you get these brief glimpses into other people's lives. So you're looking over fences and looking at the back of houses and whatever, and I just and enjoyed that shot. 8. Directing the viewer: the last shot on the top line a shot of Danny looking out of the window of the train. Children love trains Onda, Danny in April. This was This is the reason for for the trip. This on this particular day was to take them on the train because they not being on a train before. So they were both really excited and they were looking out of the window. Andi, it was all new on doll. Interesting. So just a study of Danny. They're looking out of the window again, shallow depth of field, that the focus is very much on Danny's I there, Um, with the background thrown out of focus, he's on the right hand side of the shot, looking towards the left home side. So some negative space there on the left hand side. So just denies a nice little study. 9. Mirroring directions: on a similar study, Bottom left their of of April lighting. I think it's slightly nicer on April's face. It just struck me when I when I saw her looking up like that, that the light through the windows was rather lovely and soft on on her face and her hair again short at the field. Just focus on her eyes on her hair way, even in the few inches of separation between her face on the window behind her. We've got a little bit of blur on the window, which again brings the I back to the focal point of the shot, which is which is obviously April's I. 10. Convergence: the next shot on. I think it's Bray Station platform, just just a classic converging line shot. The focal point of the convergence is the pretty much the top right hand thirds intersection line. So if we if we draw a line horizontally, third of the way down and then another line in from the right, 1/3 of the way in, that's pretty much the point of convergence there. So again, especially with black and white shots, this is This is one of those kind of strong compositional shots where all the lines line of the train and the track on the white line of the edge of the platform on everything moving the I in through the shot to the convergence point. 11. Use reflections: Danny again looking out to the window. But but a slightly different shot to the 1st 1 of Danny here, a darker shot but using the reflection of Danny's face in the window, as as the key point of interest here. So I had to maneuver myself, so I was pretty close to the window. So I got the reflection effect on There was just enough light from the edge of the window to highlight his profile in the reflection nicely. So I've got his. His face is, is lit from from light coming in through the window above him and to the right, so you can see the light on his hair and on his cheeks and on his nose on. Then the reflection off, that obviously darker but offset by the brightness behind the nose and the lips. So I've got a nice little profile of him in the in the shop. There 12. Matching pairs: to offset the first landscape, which was which was, Ah, high shutter speed landscape on the top row, the next shot on the bottom row, and it's very precisely placed there to to be kind of symmetrically offset to the top row landscape was a slow shirt to speed shut out of the window. So in order to accentuate the feeling of movement, I raised the horizon line on this autumn landscape shot to the top thirds line, so you decrease the amount of cloud interest. But the interest in this shot is isn't so much from the landscape in the cloud. It's it's more from the movement off the wall, which is moving by as the train thunders past. So that wall with a slightly slower shutter speed, I think 1/50 of a second or something was sufficient to get movement from the wall. Still keep the the background landscape nice and sharp, but again, just giving us a slightly different look on the line of the world. A slight diagonal moving from bottom right up to top left again works on the panel on. That's why it's placed on the right hand side because that diagonal is moving the eye towards the center of the panel 13. Light, light, light!: the next shot is probably my favorite, maybe second favorite next to the first shot of the lady. But this this this girl was sitting looking out of the window on the light was just beautifully illuminating her face. I was just shooting over the shoulder of friend of hers, who was sitting in the seat in front of her. I was across the carriage. I had something like 200 mil lens, so I was able to focus on her face, put her friend's head and shoulders in the left hand side of the frame, is kind of a dark element on, then just have the beautiful light on the girl's face, being the focus of the shot Men again, darkness on her right hand, on the right and edge of the shot, the back of her head on by the seat behind her, I applied a bit of a vignette to accentuate the darkness around the edges of that shot, so that it really brought out the light on her face, which was obviously the focal point 14. Designing your panel: on. Then the final shot. I shot off a lady reading her Kindle. I I moved to get this shot on. Guy wanted this particular shot because I knew that I had already got the first shot of the panel in the bag off the the older lady there, reading her book with the child looking over a shoulder. And I want I knew that the panel would probably benefit from a similar shot, but but on opposite angle if you like. So this was very much a planned shot for the panel because those two vertical shops are kind of opposite. So they sit bottom left and top right in the panel on Give It Balance. The top right and bottom left shots of Danny and April are doing the same thing. He's looking in from the from the right inside, looking into the panel. So again the eyes moved in April. Bottom left is looking into the panel from the left on looking up to the middle. So again, these are compositional elements which aren't by chance. I have specifically put these shots where they are in order to Teoh move the eye again. The second shot of the guy through the seats is kind of mirrored on the bottom row on the right, inside by the shot of the girl with her face lit to kind of. If you look at the light and shade of those shots, you've got darkness with brightness on the thirds line on. It's the same in both shots, the guys faces lit on everything else around. It is dark. The girl's face is lit on everything around that is darker on again. They are facing into the panel, the center of the panel, rather than looking out. So assembling the panel isn't just a matter of finding a dozen shots and dumping them on a page. You fine shots, which work individually and are strong as individual photos. But then you also need to think about the flow off the panel, um, on the way that the photos will interact with each other on the way that the photos being placed will move the eye around the panel as a whole. A zone image in itself, Andi. So that's That's the panel that I came up with for my day out on the dot It it told the story off a lovely day out the Children feature. We've got landscapes. We've got character studies off, you know, the different term portrait shots there. We've got the movement shot showing, you know, the train on the train in the station, the converging verticals shot. So there's a lot of different things going on which, which tell a story on, hopefully make quite a strong set of images. I was I was certainly pleased with it. Okay, gives another dimension to going out and shooting shots if you are shooting with a panel in mind. So the idea of this class really was just to introduce that idea if it's not one that you've potentially used in the past, so maybe give yourself a project, have, ah, you know, go out on a day or go out on a shoot, you know, for the morning or the afternoon or whatever aunt Think right. What I want to capture is a set of images which I'm going to assemble in a panel on see whether I can present a story as opposed to just working on individual separate images, um, as a standalone pictures 15. Thanks for watching!: I hope you enjoy this class. It's one of a Siri's that I'm recording on either individual shots or sets of shots that I've taken. Where I go through the thought behind the shot on the you know, the technical set ups, perhaps of the shots. So behind the shortest is the Siri's. Look out for the other videos. Andi hope to see you soon.