This dustbin is the most influential trashcan in the history of photography, and it is going to help you radically alter your approach to colour 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 a second glance to the photographer who we're going to be in spine to today. It was a powerful statement about the use of colour and composition in photography. If you google famous colour photographers, there are the usual suspects, William Eglestone, Slyther, Alex Webb, but there is a glaring emission from that list, and that is the name of Pete Turner. In my view, one of the most criminally underrated and yet influential colour photographers of all time. In a previous video, I talked about being remarkable with your photographs, to producing something that Cess Goden 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 famous photographs are photograph 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 colour. Take a look at these photographs and think about what it is about them that holds your attention. Place such an important role, because even though there are basic shapes and familiar objects and geometric patterns and they are represented quite simply, they are giving the colour a structure on which it can dance, which it can play. 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. Turned himself, said that he would be looking and trying to photograph there will be some sort of colour that was really working, and then he would try and tease out the image from that colour. The more that he searched for it, the worse the composition would get, so he would end up with taking the photograph. The lesson is that it's not enough. It is not enough to just simply photograph lovely and wonderful colour and expect that colour 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 simply, it is masterfully crafted to catch your attention, it uses the bold primary colours, 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. It is going to stay with you long after most of the photographs that you see today have faded from your memory. The second secret, sort of crucial element to creating great colour photographs, like Pete Turner's and other photographers like Alex Webb, who is actually a fantastic photographer. I am going to link to a video of his at the end of this, because I know that you are going to love it. If you love Pete Turner, I think, well, Alex Webb is going to play your way. But when you look at their photographs, they have such rich, gorgeous colours. And often as a photographer, you think, where do they find these colours come from? I was talking to a photographer yesterday on one of the feedback sessions that I do, and we were talking about this very secret, if you want to call it that, and that is the use of shadows. This photographer's work was bold. There were lots of bright colours in it, but those colours 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 letters on to, but it also contrasts with the colour in the photographs, the reds and the greens and the blues. All of them become so much brighter, they become so much more saturated because of this interplegant 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 colour to it, 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 skies. And all that colour seems to disappear, it becomes 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 colour photography, you need to make your colours 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 photographs, going into Photoshop or Lightroom and cranking up the saturation. And 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 colour in camera. Now you can use, you know, colour filters in front of the lens, you know, Alex, Alex Web, 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, at once, both more organic and more surreal. If you want to call it that, it's relying on dialing up saturation Photoshop. It doesn't give you the same result. So, you know, it's okay to use post-processing techniques to create the effect, 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 film. You know, he experimented and took photographs of prints and then reprinted them, reprinted them. You know, and did the whole sort of thing to get those colours. But as the old saying goes, you cannot make a good print from a bad negative. And you learn to see, and you use, and you appreciate the light and the colour 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 colour and shadow and layering, also, some stuff in his photography is a guy called Alex, where 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.