# The Photographic Color Palette ## Метаданные - **Канал:** The Art of Photography - **YouTube:** https://www.youtube.com/watch?v=tGsf59I5sdw - **Дата:** 28.01.2026 - **Длительность:** 18:25 - **Просмотры:** 8,733 ## Описание Go to Squarespace.com for a free trial, and when you’re ready to launch, go to http://squarespace.com/aop to save 10% off your first purchase of a website or domain! Join me in February or March for a PHOTO ZINE workshop! https://www.tedforbes.com/photozines-2026 Be sure to check out the work shared in this video and support the community! Jeff Karp - Flatscapes https://www.jeffreymkarp.com/flatscapes and https://www.instagram.com/jeffreymkarp/ Michal Korta - the shadow line https://kortastudio.com/product/the-shadow-line/ and https://www.instagram.com/michal_korta Neal Rantoul - Trees, Sand, Snow https://www.nealrantoul.com/books and https://www.nealrantoul.com Holger Graeber - ONE WEEK: Thessaloniki https://www.holgergraeber.com/en/books and https://www.instagram.com/holger.graeber/ Sign up to the mailing list for weekly updates https://theartofphotography.tv/list My Adobe Lightroom and Capture One Presets https://theartofphotography.tv/presets/ AoP T-Shirts https://aop.threadless.com/ Need a website? http://squarespace.com/aop On my channel you will find videos about photography, cinematography, post processing tutorials for Capture One, Lightroom and Photoshop, photo assignments that YOU can participate in, the Artist Series and more. The Artist Series is an ongoing set of videos I produce as documentaries on living photographers. I am extremely passionate about photography and video and my goal in making these videos is to share my passion and enthusiasm with you! Don’t forget to subscribe and make sure to hit the like button and share this video if you enjoyed it! Ted Forbes The Art of Photography 2830 S. Hulen, Studio 133 Fort Worth, TX 76109 US of A ## Содержание ### [0:00](https://www.youtube.com/watch?v=tGsf59I5sdw) Segment 1 (00:00 - 05:00) This video is brought to you by Squarespace. Welcome back everyone. We are going to look at some viewer work today. I've got some really awesome stuff that was sent in and I can't wait to share these with you. But first, I want to make a quick announcement. We now have dates for two new Zen workshops. These are online workshops that I do that are project based. If you want to sign up for one of these, you will have a project or a Zen that you're going to be working on during the duration of the course. And it lasts a month. We meet once a week. And so we have a lesson each week. You'll be working on your project between those weeks. And the really cool part is week three, which is my absolute favorite. Week three, we divide into small groups. And so, you'll be in a group of maybe two or three people. We'll go through our work. We'll show what we've got. And I'll make comments on it, but you also get feedback and input from your peers. And the thing that I love the most about this is it's not just input. It's inspiring to see what other people are working on. And it's also really inspiring to have people feed you maybe new ideas and things you haven't thought of as well. And then the fourth uh class that we have, we will kind of put together our projects and wrap things up. And so these are a lot of fun. As I said, they do fill up. I get asked about these all the time. So if you're interested, I will put a link in the show description below. So make sure you check it out. I've also announced the dancers motif workshop for this year and my master class. But anyway, all that information is in the link below. But now, let's get to some of your work. All right. So first up is this wonderful book called Flatscapes. This comes to us from Jeff Karp. Jeff is an alumni. He has sent work in before and this is his latest. read you a little of his note which says, "Dear Ted, hello again from the Twin Cities. Two years after you generously shared helpful feedback on my last book, Invisibility, during your November 30th mail time video, I'm excited to send you a copy of my new project, Flatscapes, for your review and commentary. Flatscapes showcases multi-layered three-dimensional places and spaces photographed in a flat planer two-dimensional style. Flatscapes is a series of explorations in depth perception. In this book, far becomes near. Apart reads is close. Scale hints is distance. Geometry brings order. Jux position poses questions. Pairings converse and color connects in the pages as they are turned. I would be interested to know if I've effectively communicated this narrative in an engaging cohesive way. I know that your critique of flatscapes would be instructive to me and perhaps helpful to others as well. Thank you for being an entertaining, wise teacher and a perpetual source of creative inspiration for all of us. Kind regards, Jeff. Jeff, this is outstanding. This is one of my favorite things that I've seen in a while. This is really good and I do think that you conveyed your objectives very clearly in here and I'm going to talk about those in a second, but I want to point out something else that you're doing that I'm sure you're aware of, but I'm really impressed by and that's your color palette on these. And you guys probably noticed this when I was putting the images on the screen a minute ago, but Jeff is approaching this with a very limited color palette of these very vibrant, bright primary tones on here. Uh, I love the way you render the sky on here. I mean, obviously it's edited a little bit, but it creates something that's really cool and very interesting. Um, it's one thing when you've got white buildings and you've got a blue sky that's pretty clear, but you start introducing color in a way that's really interesting and very unique. When you get into these primary colors, um, bright yellows, these oranges, maybe a red here and there, and this progresses. The other thing that I love about this is it also works to enhance this dialogue between the two images that you've got going on here. In other words, when we look at something on a spread, whether you like it or not, those two images do have a relationship with one another. And Jeff has taken the approach of going in and it is dependent on that relationship. Uh each of these images out of context, they're interesting, but they come to life when you put them in context of one another and you have this geometrical narrative that is going on. The other thing that I love, and you did allude to this in your letter, is that typically if anybody's ever taken a drawing class, uh, you know, maybe in high school or something like that when you were a kid, and you understand how we're working with perspective, and we always work with a vanishing point, and all lines kind of need to go into the vanishing point, and that's what gives you this illusion of depth in a drawing. You're doing this in photography and you're actually playing with that vantage point. And as you said, near becomes far, far becomes near. And I love that. Uh, it takes me just a second to figure out what I'm looking at sometimes. And even when it's obvious what I'm looking at, I think it's just it creates an enormous amount of interest. Some of your cool images in here, there's another one earlier with a mirror. Uh but this one also. And there's something in the mirror. It's there for a reason. It's not just accidental. Everything is very composed and very structured. And Jeff, you've done an outstanding job on this. I mean, I think this is just A+. I'll show you the other mirror, the rearview mirror over here. But look how that image relates to the image over here. Those blues do need to match up. And so there's some color editing that goes on. Jeff, I don't know if you're inspired by any of these people or not, but this kind of reminds me of two different Italian photographers that I one point in my life I was very into. One of whom is uh Franco Fontana who is a really interesting photographer that did a lot of this wild color landscape work uh with these very saturated tones and he was shooting film and he was probably using Fujifilm Velvia or probably even Foria which was another saturated one and I get that from the greens that you see in a lot of his images. uh your work is different, but it is treating ### [5:00](https://www.youtube.com/watch?v=tGsf59I5sdw&t=300s) Segment 2 (05:00 - 10:00) color in much the same way. Uh it it's surreal in the sense that it's not quite the blue sky that we're all used to seeing during the day. It's amplified somewhat. I love this. I think it is outstanding. I think you've done a fabulous job on here. The other photographer it reminds me of a little bit is Luigi Giri, who was another conceptual Italian photographer in the 80s who did a lot of color work as well. It was very different approach to color, but it was conceptual. And I really love what you're doing here. I'm going to link up to Jeff's work in the show description below. Uh I assume he is selling this. I will find out before I do the show description, but uh this is highly recommended. I am very impressed and I love this. And he also sent me just to show you guys a couple postcards also which are very cool with some of the images. Uh but man, Jeff, awesome work. You should be very proud. Okay, next up we are going to the dark side. This is called the shadow line. This comes to us from a Polish photographer by the name of Michael Corta. And Michael is doing some really interesting stuff here. I'll share a little of his note to give you some context. He writes, "Dear Ted, my name is Michael Corta. I'm reaching out to share my latest book, The Shadow Line. This book is a personal exploration of the animal human relationship through the lens of posthumanism, aiming to provoke a deeper conversation about our coexistence with the natural world. In the Shadow Line, I move away from the conventional wildlife photography. Instead, I focus on capturing the emotions, ambiguities of nighttime encounters, presenting animals in a way that's intentionally abstract. It took me over 7 years to work on this series, and I experimented with various standard and wide-angle lenses, aiming to capture the unspoken. I used visual tools, blur, grain, fog, and light to emulate the animals emotional language we cannot understand with our senses. These dreamlike images invite the viewer to question what they see. Are they looking into the eyes of an animal? Or is it the product of imagination and memory? Contemplating these images are studio images of animal skulls precisely illuminated as a chorus of sorts. Contrasting the wild freedom of the night scenes with solemn introspective moments. The skulls hold countless symbolic interpretations, far too many to list here. Michael, this project is very impressive and you've pulled it off in a really unique way. I absolutely love this. So, a couple things that I want to mention about it. First of all, I love the idea of these studio images of the skulls acting as these motifs that keep coming back. It's kind of this reminder, like you said, it's a chorus. I think that's something that's really cool. It's I don't want to go as far as to say it's a metaphor for the animal, but it's a really nice symbol for the animal as you go through here. And it's a kind of a point where you keep coming back because what you do with the reader, and I know you do this intentionally, is a lot of these end up being very highly abstract, which is what I love about them, but they're also disorienting as you mentioned in here. And after a while, when you start to lose a little bit of your orientation of what you're actually seeing in some of these, you come back to the skull. And so, it's something that gives you a little bit of an anchor visually. I This is really impressive, man. Um, the one thing your work reminds me of, and I love the fact that you've gone for something that is so dark. And when you we're talking about light and dynamic range, and you know, we talk about new cameras all the time, and it, you know, it's impressive that you can get up to 14 stops of dynamic range sometime. Well, what's interesting is paper only has the range of about eight maybe 10 stops depending on what your process is uh and the printer and all that, but uh you're working with a very limited dynamic range here and everything is really low on the shadow end and you're revealing just enough information to the viewer to make them think a little bit and I love that. It is really cool. Some of the really impressive ones are this one like with the deer in the background. Get him out of the reflection. They work so well. And what's cool is like you can hold this up like at reading level and you kind of see one thing in these and then you can pull back and it kind of takes on a different uh persona so to speak sometimes. This is very well done. The work reminds me a little bit and I don't know that you're influenced by one way or the other but uh Kenruzu who is a Japanese photographer actually believe lives in the US now who has a wide range of work that he does. He does a lot of landscapes, but he did a whole period that he called his blue period. And it was influenced by Picasso's blue period. And it's these prints that were done uh when he did the originals, they were platinum palladium prints that were kind of touched up as Siana types. So you had kind of a split process, but the result is these deep shades of blue and you'll have maybe two stops of dynamic range. It'll be a figure or somebody in the front and it's just enough to give it a lift. These are very hard to reproduce over a wide range of media. In other words, it's one thing to do a book. print. It's one thing to do JPEGs that might be distributed on the internet. And so, it's hard to work with, and I'm sure you know that. Uh, you have done an absolutely outstanding job on here. This is so well printed. I love the uncoded cover here. The pages are wonderful. Um, everything is just so mature about this. I will link up to Michael's work in the show description. This is a mustave. I absolutely think the Shadow Line is incredible, man. You should be very proud of this. And thank you for sharing. feel like I'm super chatty today, but uh when the work's this good, it gives me things to talk about. So uh anyway, I've got two more that I want to share with you. Both of these projects are timebased, and I want to get into ### [10:00](https://www.youtube.com/watch?v=tGsf59I5sdw&t=600s) Segment 3 (10:00 - 15:00) that in just a second. But real quick, I want to give a shout out to our sponsor this week, who are the always awesome folks over at Squarespace. How easy is it to build an amazing website in a matter of minutes? Squarespace has you covered. It's dead simple. Head over to Squarespace, hit started. You can start by selecting from an impressive collection of customizable templates or you can do what I do. Build your own something unique because you know you're not like other websites. Give your site a name. Next, you can build your homepage. We'll start with a few preset layouts just to get us going. Want to sell products like books or prints? Well, you can feature those on your homepage. Create a few more sections if you want. Let's also give it a color palette. There's a whole bunch to choose from and just get us started. We can change this all later. Next, let's select the typography choices. Welcome to your website. Everything is set up and it's all ready for you to customize. Squarespace is built on Fluid Engine, the next generation of website design. Select edit and Fluid Engine allows you to drag, place, and resize any element on the page. You can snap these to a grid. You can make them float on top of one another. You can free however you like. You can even preview and adjust how the site looks on either desktop or mobile. The layouts are independent. Of course, you'll want a portfolio for your work. Creating an image gallery is as easy as dropping a folder of images on your web browser. Once uploaded, you can drag to resort, customize the look, and Squarespace writes all of the code for you. Everything just works and it looks fabulous. Want to sell your own prints, books, or zenes? Squarespace has the capabilities to not only set up your online store and collect payments, but they also give you all the tools that you're going to need to be successful managing shipping and payment options, manage your orders, and engage with your customers. They even give you the tax tools that you need to keep things organized and stay compliant. You should try Squarespace for yourself. It's absolutely free. No credit card required. Just go to squarespace. com/op. Sign up for that free trial. If you decide Squarespace is right for you, I can save you an additional 10% on your order by using offer code AOP on checkout. That's right, the code is AOP. So, stop procrastinating. Go build your website today. And I want to give a special shout out and thanks to Squarespace for sponsoring this video. All right. Next up is this little book which comes to us from Neil Rantul. This is a little book called Trees, Sand, and Snow. He also included a note. I'll give you a little context. He says, "Hello, Ted. I enjoy your channel and have learned a great deal from looking at the books that you featured. I'm a career photographer, artist, and teacher and made this book, Trees, Sand, and Snow, about four years ago. In one of your book reviews, you covered a photographer dealing with the concept of time. In my book, I have that as well. It connects three series, two made on the island Martha's Vineyard, and the third in Cambridge, Massachusetts, where I live. Thank you for looking at my book, Neil. Neil, I really like this work and yes, I can see that you're dealing with the idea of time in here, especially when we get into the ideas of sand and u environmental change over time and then also snow, I think. But what I really love about this is how you handle geometric forms in here. And this actually relates to the first book, Flatscapes, that I showed on this video. Uh in that you have this geometric language that you're exploring in these relationships between images and how they fit together on a spread, how they progress through the narrative. As I flip through the pages, this is outstanding. Uh I think it's really cool to take an idea, something like just trees for instance, and really explore this in this way and take it beyond just being a landscape image and what is it saying geometrically? Uh is there gesture? I think there obviously is. Uh the whole idea of erosion in these landscapes, time that comes into this. This is absolutely fabulous. You have done an outstanding job. My only question for you is that you said you did this four years ago. Man, I want to see some new work. This is cool. It kind of wetted my appetite and I can't wait to see what you're working on next. So, uh, I will link up Neil below. Neil, thanks for sharing. All right, so next up is this book which comes to us from Hular Greyber who's a German photographer. This is called One Week Thessaloniki. He also enclosed a note which reads, "Dear Ted, inspired by your YouTube channel, I started some time ago to give my photos more space than just my PC hard drive. I particularly enjoy creating magazines and coffee table books. This way, I can present my photos much better and give them more prominence. At the same time, I can distribute these print versions via my small YouTube channel and print editions of 30 to 100 copies find their way to people who enjoy photography. In October of 2024, I realized a photo project that had been on my wish list for a long time. I spent a week alone in a city that was completely unknown to me until then and did nothing else but let myself drift through the city and take pictures. The conclusion of this project was the creation of a coffee table photo book, One Week. I would be delighted if you took a look at it. Many thanks for your inspiration, Hogar. Okay, Hogar, I really like what you're going for on here and I think one week is a really ### [15:00](https://www.youtube.com/watch?v=tGsf59I5sdw&t=900s) Segment 4 (15:00 - 18:00) cool idea. I would love to do something like that where you just drop yourself somewhere where you've never been and explore and photograph. And the what attracts me to that concept is this idea that you're not familiar with anything, you've never seen it. And so you're totally with fresh eyes on things and what is your interpretation? How does that link up? I never really do that because I'm the kind of person who likes to research the heck out of something before I do it. But I love the idea and I love that you've realized it. Um, I want to talk about this because you have the work basically in three sections here. You have night, you have what's called a city, and then you have shoreline. Uh, I think the two most successful for me are night and shoreline. And I want to talk about why. So, with night photos, you are in a unique situation where you have this backdrop of ambient darkness, and it really brings your eye into the images that you're focusing on. You're doing a lot of street photography. Like, it brings your eye into these figures down here. We're dealing with basically two stops of dynamic range, light and dark, and maybe one of midtones. They're really cool and it's very effective. And I think these are your best compositions. I think you also do that with shoreline. And I want to bump back there and explain that this happens. I love your black and white work, too, by the way. Um, but this is a great color image. I love this because look how much negative space we have in here with the shoreline, with the skyline, and then you play with the horizon line here with this boat, which looks like it could be sitting on concrete if you didn't know this was a shoreline and this figure who's looking beyond it. I love the colors. Love the muted tones. This is very successful. I think these are your best compositions. Now, the middle section is where I it comes apart a little bit for me because you move mainly into color and you're also doing a lot of street photography in places where I don't get that isolation that you get with negative space. Uh I'm not seeing uh some of that minimalist quality that comes into this. There's a lot of vertical lines going on here between these guys. I think that also the figures are so um what's the word I'm looking for? They're kind of the figures are more suggestive when you just see them as silhouettes. They're more literal in this case. Uh I've got a lot of typography in the background. I just don't get that isolation. These are busier images. And as a result, I just don't connect with them as much. And I know that's going to be my opinion. Others may vary. Um especially people who are really into street photography, but you know, my feeling, it's one thing that I teach in the Zen course. It's one thing I teach in my master class. I teach it I have a whole book that's written around that too. But the whole idea is that as a photographer when we're dealing with an image, uh, you basically have a canvas that's whatever format you're shooting in. So if you're shooting on a digital camera, it's probably 2x3. phone, it's probably closer to 4x5. Film would be 4x5, 8x10, whatever you're doing, square format. You're responsible for every square inch of that canvas that's in there and what you put in it. So in other words, things need to be included in the photo that support the photograph. Anything that doesn't support that tends to distract from that vision. Uh you can have elements that are very essential to the photograph. So something like a subject. You can have things that support the subject, probably your background, your environment. Uh you can even have objects in there that in context support the subject still. But this is the problem that I had with a lot of those middle section images is that you just have so much going on. They don't do as much for me. But it is an awesome concept. It's a great book. I love how you produced this. It's very well done. And I will link up to it below. I guess suggest you guys check out Hogar. He is awesome. And I want to thank everybody who sent stuff in today. I would love to know what you guys think. So, drop me a comment. Remember, the Zen course link is below. I'll see you guys in the next video. --- *Источник: https://ekstraktznaniy.ru/video/17876*