 How's it? How's it? Welcome back to the channel. It's awesome to see you again. Today we're going to be looking at some photographers with the letter E to hopefully bring you a fresh perspective to the wonderful world of the photographic image. Previously in some of these videos I've been accused of photographing only just or not photographing or featuring the photos of people who are from the past. Now nothing's going to change today. No, it's not true. We are going to look at one great photographer from the past but I have very two very exciting sort of new, well it's certainly new to me photographers who are working in the contemporary world who hopefully will give you a shot in the arm in regards to your possibilities within photos. So the first photographer we're going to look at is Jan Enkelmann. Now he has created some beautiful cityscapes of London in March 2020 around that. You know that period which we're not going to mention because YouTube doesn't like it but we know what we're talking about and we're all familiar with a lot of the photographs that were taken around about that period and they all focused on the the desertion and I think they kind of went well the emptiness is enough to make the photo interesting and beyond some things that I think most of them just failed because they were not actually paying attention to using that that I was about to say desolation but desolation is completely wrong the lack of any human touch or very minimal human touch properly whereas as you look at Jan Enkelmann's photographs what I see are images that have been taken with an intent with a purpose that yes the streets are devoid of people and yes these could have been photographed at any time but they are put together in a way that is reinforcing the feeling that there is a lack of people that something is missing here that's what I love it the streets and everything feel like they are familiar to us whereas if you photograph it kind of like three o'clock in the morning sort of thing they don't have that feel because there's still the fingerprints around of of people you know litter on the street you know maybe a person sleeping on the floor because they've had too much to drink or you know you know those sort of things but you look at Jan's pictures and they have that quietness they have that beautiful just vibe about them that is somewhat disconcerting because he's taken that emptiness and and elevated amped it up by actually making the city feel like it is actually alive which is I don't know what an interesting concept anyway I love his photographs I just and I hope that they have inspired you if you are going to try something similar if you're going to try and actually photograph a feeling or a mood or an emotion and you know how to actually inject that into your photos so talking about mood and vibe and and a gorgeousness of like of approach look at these wonderful tin types by a photographer called Lisa L. Malek right and if I pronounce that incorrectly please do let me know in the comments because I am it's my Achilles heel and what she's done is she's photographed the people in this case of the Appalachian Mountains in a in an alternative process so this is a tin type process which is a historical way of creating photographs and what I love about this approach is that it suits the mood of the project that she has here right so this project is about what look like folk art singers from the Appalachian so they've all got bandroes and what have you and when you look at these it feels like they could be historic but then you look at the people themselves and you go ah well the clothing the way that some of them look feels modern and it contrasts with this kind of idea that I get when I look at you know Victorian photos that because the people themselves look like us it gives us a deeper connection that once you get past the moustaches and the hair and the clothing and stuff that you go well this is how things could be and I love this look I think this is a great example of choosing the right approach that suits a project rather than the tin type approach just being the be all and end all of the project so if you're looking to create a project that does explore alternative processes and explores various ways of different ways of taking photographs make sure that the whole thing works together rather than just the process being the project see I can't help but slip in a famous photographer into one of these so we can look at the work of Alfred Eisenstadt now often photographers hinge on one or two pictures and Eisenstadt is no different you know there's the very famous picture of the kiss in Times Square with you know the the sailor and the nurse which is a whole story in of itself and then there's the very famous picture also of you know Eisenstadt taking a picture of Joseph Goebbels and those are kind of the two pictures that you often associate with him if you have just a vague passing interest in you know photographers of his kind but then you dig in a little bit deeper and you see that actually he had a very keen eye for compositions about framing within photographs and I love that lines you know shape and all this kind of depth that so often you know we we don't really we don't appreciate I think at the surface how important these things are even in a a a street or a documentary or whatever you want to call it perspective that it makes the images so much stronger the the Goebbels photograph is not a strong photograph you know from a some of an aesthetic point of view it's strong because of the story and what it represents and that's an issue when you are kind of just thinking that the thing that you photograph is enough to carry it in that case there was enough to carry the image and make it a fairly important image but if it's something that you have to kind of explain to somebody and and make them see how amazing it is then you need to fall back on making the image visually stronger the photograph of the stairwell right you don't need to know that this is like a college and da da da da da to be intrigued by the photograph that you know that you can sort of appreciate it for an aesthetic quality first so think about that when you are out photographing the street that yes events are important yes things that happen are important but wrap them up in a visual web if you want to call it that makes the whole thing come together that binds it and connects with the viewer in a way that is visually interesting and stimulating if you'd like to discover more photographers to inspire you to to make you think about your own photos in a different light then check out this video over here thank you ever so much for watching and I will see you again soon