Alright then, here we go with episode 20, Negative Space. We need compositional tools like Negative Space to help us convey a story. Our world is noisy and distracting. We need to draw attention to our subjects by bringing them into the foreground. We use tools like Negative Space along with the other things such as the rules that we've talked about in previous episodes. We want to bring a juxtaposition to our hectic lives. We want to introduce the feeling of relaxation. We want to be clean and uncleted. And we want us to feel the solitude of the subject and force our attention onto the subject of each image. In this image, the photographer is isolated from his subject. The beach background and the water, blurry, immediately draws our eye back to the photographer, back to the subject of the image. Negative Space doesn't have to be bland, bright, poppy colours like this red wall certainly capture the attention, but your attention is immediately brought back to the subject of the image again. Similarly, in this image, with the yellow background, the background and the lines work together to give us the idea of trouble. In the way our subject is looking and is hand on the escalator row, reinforce that. Negative Space doesn't have to be bland as we've seen in our previous examples. They all had clean backgrounds, but they don't have to be that way to be considered negative space. Just the subject needs to stand out clearly. In this one, the subject is clear even though the background is busy. Monocron certainly helps a little bit with that. In this one, negative space is very busy, but you can clearly see what the subject of the image is. You probably don't need my title to know it's about news. So negative space is pretty handy in street photography. In this one, our subject is looking off into the distance, and there's certainly some busy people behind him in a bit of a group, but the muted tones and muted colours bring him into the foreground and help us ignore the people behind him. Capturing moments with negative space can be done with using depth of field. In this case, our photographer is busy capturing someone else's portrait, and in the background is a busy city scene, but you can barely tell what's there because the depth of field is so shallow. So our attention is immediately drawn back to the subject of the image, the photographer. In this one, I've used Monocron to achieve negative space. The background behind our subject, very bright and colourful graffiti in one of Melbourne's famous street art lanes, so is the LA. But your attention isn't there, your attention is with our model, simply because of the negative space. So how do you achieve negative space in your images? You need to remove all the distractions from your image frame, empty the background, no big contrasting colours, simple shapes are okay. Avoid complex shapes, avoid bright things, where you can't remove the distractions, use shallow depth of field, mute the colours and tones in the background in post processing, or consider using Monocron. And that's it for this episode. Thank you for watching another episode in the series.