 How's it going guys? Today we're looking at Framese Magazine and these gorgeous portraits, this captivating image on the cover here by a photographer called Jens Matheson. Matheson? I think I've pronounced the surname correctly. Now when I look through these magazines with you I don't look at them prior to this. I mean I flick through them right but this is kind of moral reaction because one of the joys of being able to share photographs is that we're not kind of always you know thinking about them you know overanalyzing. I could go away prior to recording this and sit there and go well I'm going to talk about you know the compositions that are reminiscent of X1s but no I'm going to talk about this young lady here who I've just sort of seen and the thing that springs to mind here immediately is it is captivating and of course I'll put the picture up on the screen but it's employing a technique that I think is overused badly. Now that's shallow depth of field you know we've all seen them on Instagram I think these photographs these portraits where the depth of field is so thin as to be bizarrely not right. They don't feel right for me but when I look at this photograph and the rest of the work that Jens here has put in he uses the shallow depth of field I think and I'm going to use it in a term like a more classic sort of way so it's from the nose to the ears and then there's some fall off going through there probably because of you know the focal length of the lenses but what this does is it draws attention to the eyes to the face to the person to their feeling to their atmosphere to coin a phrase that we were using in a previous video we'll give it some character but without it feeling unnatural and I think that's the the key here one of the the things that I'd like looking at these these portraits of of Jens is that they are they feel natural they feel they feel real and that's an odd thing to say because I mean obviously you know most people's photographs are of real people unless you're on mind journey or you know one of these ai tools but that's what I enjoy that they are tapping into that idea of what a portrait for me really is that it's not a fancy expression of colors and and cross processing techniques and things of that nature it is a subject whom when we look at them we get an idea as to their character and if you're like employing overused techniques because they're popular or what have you you know if you're employing you know little approaches that's in an in an effort to make your work stand out then you miss that you know you're putting style over substance and that's a real shame now as I've been going through this and talking I've been flicking through and then there's portraits of animals now animals don't really get featured here on tpe very much and this is a photographer called Pauline Fowler now what I do like about these is that this is a wonderful picture of a healing coup says a hairy cow to to people who don't have anything to do with Scotland and he's got to mention gorgeous expression on his face I mean you can't see his eyes or something but it's great what a wonderful photograph and she says here a bit of character in my images is something I enjoy immensely I think that is going to be the work the phrase for this I'm sorry this cow is so good I'm just Pauline if you watch these and that's that's absolutely gorgeous you know and and again you know we talked about the naturalness right so you know her there's a chicken here as well what a noble looking chicken the portrait of the chicken it you know these are what these are awesome and they are done sympathetically again they're not over they're not loud they're not brash in your face that they just kind of feel painterly yeah I you know I've had this kind of you know people said this about my work in the past and I initially I thought it would be a bit kind of hmm I don't know about that compliment but what I do you know but as I get older I sort of go that actually it works because you know it they feel they feel real again you know you know we're talking about in sharpness in that video the other day when I was talking about sharpness and how like overly sharp images don't feel real and the the very shallow depth of field stuff doesn't feel real but these images they feel real you know I just I love looking at these that they they have a softness about them or that atmosphere wow really good Pauline I like that that's very mad now we've got somebody here called Richard Cochie Hernandez I think Cochie Cochie Cochie and it's sort of extreme so let's see what this is now this oh that reminds me of Gordon Parks straight off the bat there look I don't know if if you're familiar with Gordon Parks I'll put some of his work up on on screen so it's going to give you a bit of an idea but that's I think it's the silhouette of the hat you know that he's he's doing these oh yes there's again very different change of pace to what we had earlier you know these are excuse me photographs that okay do you know I don't really feel where they would you know fit in I mean what do you call them street photography you do you know are they you know the fine art or something like that there's certainly not portraits but there is a theme running soon there are there's there's red red as a colour as it stands out I'm seeing it so far I mean there's a one with a red cross on here they're really nice I like this use of like a very monochromatic kind of feel and yet their colour um you know they're wonder what a what a wonderful sort of little idea and it just goes to show you know that you know if you're thinking about projects thinking about things to photograph often we think about you know people or you know or it was a specific action or you know some sort of thing and it often colour just never really gets a look in so I'm like the use of the red tears a really nice sort of look that holds the images together and funnily enough I'm looking at these and even though they're shot in 2019 it's weird because they don't feel modern if I and that's not it that's I'm you know they're not slagging that off you know but they they feel like they're kind of from this sort of 50s era you know there's this photograph here the man with a there's a man with a yellow hat okay I'm going to leap to that because my son likes to watch George at the jungle not George at the jungle curious George um George the jungle whole different thing but yeah the man with the yellow hat um and this is a straw motor but yeah wow really really again you know and I had to say you know I have yet to you know see any work from frames that is is disappointing you know the the curation on these on these you know magazines is is wonderful it would be so easy I think to just kind of you know film full of just images you know but they they work together now I've been talking with Tomasz from frames because he's the he's the he's the head honcho over there and he actually said that they're putting together some app or something which I believe is going to be free um you know because it'd be wonderful as nice as these are to have you know it it's unless you have the ability to look at these on a train or something like that you know and carry them with you all day and quite frankly I don't think I'd want to carry these around because they would get damaged and stuff um so they can have an app which I believe you can sort of look at all the work and stuff and I know it's not quite the same but uh but that you know that that's kind of I really enjoying the sort of that idea I think you know we we do live in a world where we're all connected with digital stuff and and so yes it's a good so we look out for that Tomasz said he'll let me know when that's that's all live and moving along we'll swiftly back to the photographs we've got um Eric Mensha and he's been here in in Guatemala and again with the shadows lots of shadows lots of lots of atmosphere you know if you're wondering what is this atmosphere I'm talking about um it goes back to a previous video where I talked about sharpness where Alfred Stieglitz said you know about um the the argument is sort of sharpness he said that in nature he would want to have when nature has atmosphere atmosphere softens lines and I thought it's a really good way of talking about images that have a sharpness to them but they're not overly sharp that they have some sort of atmosphere and Eric's photos certainly fall into this category they are a a a a a theory this thing was just an overused word why do I always think about it but it's it's shadows and in oh god I loved it wow that's awesome oh Eric that is so so good you see the beauty of doing these in real time of looking at them just a little reacting because this is this is fab oh I love this picture it's it's it's called the magic and the mystery of Lake Atelian which again you have to throw something into this time it's not going to struggle to I don't speak Spanish um uh because from from Guatemala but you know it says the company text is looking like a monster but feeling less threatening a tree rises from the swollen waters of this lake the lake's level ups and flows depending on the rainy season now I've read the explanation there because I'm actually intrigued about what is what is this so it's a tree but it looks like indigene it looks like a man sort of diving into the water you just sort of feet up on on the top now this is a good example of a photograph that has an explanation attached to it which sort of takes away from the picture you know now we kind of know what it's all about it's it's not quite as intriguing um I still love it I think it's a wonderful photograph wow that's that's amazing but I do think it's a case of over explanation and and and it kind of brings up this topic of if you need to explain a photograph to make a work which in this case Eric does not okay this photograph works without being explained there was no explanation necessary right but you do need to be careful if you if you over explain things and you talk about things then you take away some of the mystique that makes the photograph work in the first place which is which is kind of what's what's happened here but oh he's his work is is is beautiful he says you know and moving on we have Paul raised of Ray side I do apologize and I know people have said that in the comments you know about my my my pronunciation of names um you know one of the things as I said I do these kind of live it's like a reaction video you know I mean yeah photographer reacts to frames magazine you know but you don't know frames but so it doesn't matter but um yeah occasionally I do get tripped up by by names and I do apologize if you do watch this and stuff it's no disrespect to you but oh hello Paul you instant yes instantly we're a kind of into myself this is this is this is very much the sort of thing that I like this that um it's very sort of simple almost minimalist composition kind of thing here it's it you know it just goes to show that the most mundane things this is the corner of a chimney breast with a you know with with oh I've totally forgotten the word for these things if you know what the word for this a mantelpiece in the comments below um you know then just yeah look at them that's wonderfully wonderful sort of ideas and um you know I feel I see in his photographs length right so as I've been flicking through here that his photographs are all they're all quite long right so they've got they've got a long sort of thing which is kind of weird sort of thing to say you know they're all long you know in portrait orientation but the the compositions make them feel tall you know like that one again look at that you know that framing you know this this is I think you know just what a wonderful example of you know having I think a clarity of thought about how you can make something feel elegant I think elegant might be you know the right word I feel an elegance in his photographs what a what a what a gorgeous sort of looking sort of set of photographs and and this this see you know we've talked about it being intrigued this one okay that I I will definitely put this up on screen if I can find them because you know in the past I've looked at some of these for some of these fellows and I can't find them which is disappointing um but this this particular image so there's there's like a renaissance kind of painting there is a piece of silverware and there's a table with what looks like a you know like a buffing machine on it and aha there we go so it was asked to photograph a silversmith who lives in a Victorian chapel in Wales and that would explain all this stuff why there's a you know a buffing machine there but what an interesting contradiction or contrast because often when we think about you know people who like artisans and hands-on thing very dirty you say well messy environments and stuff and yet this is as clean as as clean as you possibly could find and yet there is a buffing machine you know uh so it just wow I think it looks it looks really really lovely and uh yeah so I want a great selection of photographs I really like his his work and then there's there's one puts me a little bit in mind of Desiree Doran and and we do have shutters in her house and some paneling somewhat similar in fact off to off to the side here you can't see it um I just wish it looked that um elegant it's looking a little bit a little bit worse for wear um but still not it's got character it's quite atmosphere right oh wonderful stuff so you know these are I think if you can you know find them if you can get on board with um you know Frames Magazine there is a link in the description box below where Thomas is very kindly given us a discount for watches of TPE to uh to go and enjoy you know his his images and and as always at the back and I do apologize because I've flicked over them um there are some some more sort of digital images which I I do like um but they're not you know they they have that painterly sort of feel but I have to admit that I'm not a massive fan of this kind of photography um which is just a compositional sort of stuff um you know that looks like a painting I would much rather have a painting like that uh if you know then that seems slightly unfair on on Michael says Michael Raymond the artist here it just yeah there's I think this is probably my only sort of I'm gonna leave that cough in because I'm sort of saying is it that's my only misgiving about about this is that this particular kind of digital work while it's interesting and stuff I don't think it really has a place next to some of the the wonderful images here but you know but that's that's personal choice that's it that's a taste thing for me nothing against digital you know you know digital image creation it's just these feel like they want to be paintings so there we go anyway you know I really hope you enjoyed this this look at you know frames magazine and if you want to see more of frames magazine check out this video over here thank you ever so much for watching and I will see you again soon