 This dustbin is the most influential trashcan in the history of photography, and it's going to help you radically alter your approach to color photography, which is going to make your photographs so much more remarkable. To most of us, it's just an average rubbish bin on the side of an ocean. We wouldn't have given it a second glance. To the photographer who we're going to be inspired to today, it was a powerful statement about the use of color and composition in photography. If you google famous color photographers, there are the usual suspects, you know, William Eggleston, Saul Leiter, Alex Webb, but there is a glaring omission from that list, and that is the name of Pete Turner. In my view, one of the most criminally underrated and yet influential color photographers of all time. In a previous video, I talked about being remarkable with your photographs, to producing something that Seth Gordon called a purple cow. There are two fundamental principles to the success of Pete Turner's photography that we are going to learn from and introduce into your own work to help it make it more remarkable. The subjects that Pete Turner photographs are not always the most exotic, although granted, some of his most famous photographs are photographed in exotic locations, but the basic premise behind most of his images is that they can be created pretty much wherever you look, wherever there is the willingness to explore the possibilities of color. Take a look at these photographs and think about what it is about them that holds your attention. Composition within Pete Turner's photography plays such an important role, because even though there are basic shapes and familiar objects and geometric patterns, and they're all presented quite simply, they are giving the color a structure on which it can dance, which it can play. And this is so fundamental to how you are going to structure your own photography and your own images, because without a sound composition, then the photograph is just going to fall apart. Turner himself said that, you know, he would be looking and trying to photograph, there would be some sort of color that was really working. And then he would try and tease out the image from that color. And the more that he searched for it, the worse the composition would get. So he would end up with, he wouldn't take the photograph. And the lesson is that it's not enough. It is not enough to just simply photograph lovely and wonderful color and expect that color to carry the image by itself. The photograph of the trash can that we looked at the beginning of this video is a great example of why Pete Turner was so sought after by art directors and people who are making album covers for jazz musicians, because these images stick in our mind. Think about that photograph. That image of the trash can is going to stay with you because it is direct. It is to the point, it is simple. It is masterfully crafted to capture attention, uses the bold primary colors, but also the composition is interesting. The composition is sound. And all those things come together to create a photograph that you are going to remember for, well, basically forever, right? It's going to stay with you long after most of the photographs that you see today have faded from your memory. The second secret crucial element to creating great color photographs, you know, like Pete Turner's and other photographers like Alex Webb, who is, Alex Webb is a fantastic photographer, and I am going to link to a video of his at the end of this because I know that you're going to love it. If you love Pete Turner, well, Alex Webb is going to play your way. But when you look at their photographs, they have such rich, gorgeous colors, and often as a photographer, you think, where, where did they find these things? Where did these colors come from? I was talking to a photographer yesterday on one of the feedback sessions that I do. And we were talking about this, this very secret, if you want to call it that. And that's the use of shadows. This photographer's work was, was bold. There were lots of bright colors in it, but those colors were enhanced by him not being afraid to embrace inky black zone zero shadows in his photography. When you do this, when you introduce darker elements to your images, not only does it create strong graphic elements that the eye latches on to, but it also contrasts with the color in the photographs, the reds and the, you know, the greens and the blues, all of them become so much brighter, they become so much more saturated because of this interplay against darker areas. You've seen this connection for yourself. You've seen it how many times, you know, when you're driving along and there's a storm cloud, you know, in front of you and behind you is the sun. And everything in front of that storm cloud has a stronger color to it, has a, has a richness to it. And that's because it's contrasted against the dark sky. Take away those clouds and stuff like that. And you have those kind of, you know, those kind of whitish midday, you know, skies and all that color seems to disappear and become sort of bleached out because of this lack of contrast. So find things in your images, shadows, you know, let the shadows go black. If you want to explore color photography, you need to make your colors saturated, to make them pop and explode off the print. And to do that, you have to let the shadows come in. You have to let the shadows be part of your image. At this point, I think it's appropriate that we make the distinction between simply taking photograph, going into Photoshop or Lightroom and, and cranking up the saturation. And you, because it's not the same, it doesn't give you the same effect. It doesn't give you the same effect as creating the color in camera. Now you can use, you know, color filters in front of the lens, you know, Alex, Alex Webb, Pete Turner did this, you know, you can use polarizers to, you know, to take all the polarizer light and bring more saturation in. You can use those shadows. When you do all of these things, it makes the image feel, I don't know, once both more organic and more surreal, if you, if you, if you want to call it that, it's relying on dialing up saturation Photoshop, it doesn't give you this same result. So, you know, it's okay to use post-processing techniques to, to create the effects, to, to add on layers of what you've done in camera. I mean, Pete Turner did this very thing in his, you know, in his dark room, you know, he experimented and, and took photographs of prints and then reprinted them and reprinted it, you know, and did the whole sort of thing to get those colors. But as the old saying goes, you cannot make a good print from a bad negative. As you learn to see and you use and you appreciate the light and the color and the shadows and all the things that are all around you, it is going to revolutionize all of your photography, even if you just photograph in black and white, you know, photography is about the art of light and understanding it is going to play such a crucial role in you becoming the best photographer that you can be. A photographer whom I absolutely adore the way that he plays with color and shadow and layering and all sorts of stuff in his photography is a guy called Alex Webb, who I mentioned earlier. He is fantastic. If you like Pete Turner, you're absolutely going to adore his photography. I put the video up here. Please do check him out. Thank you ever so much for watching once again and I'll see you again soon.