Jonathon Bielaski is a Canadian environmental photographer specialist based in Toronto. Although environmental portraits are restricted to often just the place of work for the model in question, Bielaski visits more diverse and a variety of work places. Bielaski’s photographic range gives his collection of work an edge on other environmental portraiture photographers which is also enhanced by the body language of the model. Throughout his work, the model avoids eye contact, creating this sense of ambiguity and the viewer of the image immediately questions the image – does the person enjoy their job? Are they happy?
Presumably, the man in the image is the butcher, the man who butchered the seven pigs in the image. Although pork is a very popular meat, especially in the UK, to see meat in this formation is quite disturbing and grotesque, perhaps coinciding with the closed body language of the man in the image. The crossed arms, ambiguous side profile, aged skin and grey hair allude to an experienced butcher whose guilt of killing animals has caught up with him as he is surrounded by the corpses of pig bodies. Bielaski would have crafted the image in this way to show the struggles a butcher would face and perhaps the guilt the job accompanies. Alternatively, it may be other factors that are causing this man to be stuck in deep thought during his work hours and this may affect his performance. Perhaps his job is an escape from the strain of everyday life but due to the posture the model holds, the images emotion is ambiguous and open to interpretation, which is the key method to an environmental portrait.
Following the knowledge I attained from meticulously analyzing Jonathon Bielaski’s environmental portraiture work, I researched and reminded myself of how to take a successful environmental portrait of a family member, to stay inclined with the task and the main topic of family. I used the following links to help me conjure a plan of action…
Larry Sultan was an American photographer who framed his wealthy and prestigious family in the style of environmental portraits. Like many environmental portraits, the blank facial expression depicts a story open to interpretation, giving different dimensions to his photography as it becomes real although it is so clearly staged.
Initially, I plan to photograph my step-dad, a Chartered Accountant who jointly runs his office with brother. I’m going to tell him to model in the photograph as if he’s writing, on the computer, an image looking away from me and an image looking directly at me. I’m hoping by attaining a variety of images of the model, I am able to select a definitive picture that can portray the stress I see him experience. The working strain usually implements onto our family as it is clear when he is stressed.
Secondly, I want to photograph my little sister either in her bedroom or the garden on the trampoline. For this photoshoot, I’d have to find a perfect angle to get my sister and the objects I hope to capture with it. At the tender age of five, my sisters main aim is to have fun so if I’m going to capture images of her on fun apparatus, I’ll have to instruct her to keep a straight face, which may be a challenge.
Finally, for the environmental portrait study I will encapture images of my friends drinking and playing pool, which seems to be the culture since we’re turning eighteen this year. Personally, I consider my friendship an extension to my actual biological family, which allows me to incorporate them into my work.
Throughout the process of this coming year in photography, I am going to be looking at a variety of different style of photography that will be paramount for me to present my personal study in a creative and new narrative style that I have not attempted before. I have already looked at one of the threes styles, being archival imagery. I have achieved this through looking briefly at my own personal family archive and visiting the archive of Jersey and it’s history at the Societe Jersiaise museum. This was a really enjoyable experience and it has set me up for the year to come because I aim to use these new skills learnt to help me analyse the background context of photographs deeper and I will be able to explain my now photographs better because of this. The other two style of photography will interlink with archival works and the pieces I produce from each aspect will hopefully come together to complement each other in the end result.
I have set myself a personal target this year to explore lots of new techniques and photography styles. Last year I focused solely on what was set and I feel this limited my ability to explore and expand my creativity further outside of the boundaries and therefore my outcomes were often basic and they weren’t always what I wanted in order to differentiate myself from others because I didn’t know what to do in order to make myself unique. Furthermore, my maturity as an artist has develop and artists mind has also advancement, therefore, I feel as if I am eager to try lots of new things and challenge myself in terms of exploring outside my comfort zone to help me understand what I want to be as an artist, the style I feel most attached to and so on. I hope to discover a particular look to my work and I think that looking at new techniques will aid this; this is why my ability to be experimental in photoshoots for documentary, tableaux and archival purposes will be vital for my own success. I see this year as a time for trial and error in an effort to discover myself.
Documentary
Documentary photography usually refers to a popular form of photography used to record events or environments both significant and relevant to history and historical events as well as everyday life.
Documentary imagery drew on the idea of information as a creative education of life itself and it has been used by a range of photographers to show everyday life of ordinary people – which is what I will be attempting to achieve in the near future.
Documentary photography wished to, when first introduced, pave the way for social change as people often photographed controversial subjects very subtly to get the idea of documenting a particular event as if they shouldn’t be because the subject is seen to be a taboo such as alcoholism, much like Richard Billingham did in his series Ray’s A Laugh.
Richard BillinghamRichard Billingham
Tatesays that Until the mid-twentieth century, documentary photography was a vital way of bearing witness to world events: from shoot-from-the-hip photographs of the Spanish Civil War by Robert Capa to the considered portraits of poor farmers by Dorothea Lange.
Dorothea Lange – one of America’s greatest documentary photographers who worked in War strucken areas and investigated the working conditions of farm workers
For me, documentary photography is a very powerful tool to use in order to get across a message creatively and artistically through the use a camera – a snap shot to allow us to compensate for the resistance that media has when serious topics such as mental illness or suicide are not addressed and are not put in the face of the public due to such topics being regarded as taboo. I am not saying I will be addressing such topics and issues but I believe that documentary is a perfect way to compensate for the lack of publicity it gets and artists such as Richard Billingham or journalists as early as 1880’s who documented the slums in Manhattan shows this in their work. Also, an artist, I am particularly fond of addresses less serious topics but in a humorous way – French illustrator, Cecile Dormeau tells the hidden story of women and the other side to women that society don’t regard as lady-like through her colourful and cartoon-esque illustrations and gifs. She shows women eating junk food in lounge-wear and shows curvy women in strappy tops through the characters she creates in each of her drawings. It is a form of documentary work because it is publicising something that wouldn’t get addressed in other media because it is typical to have a petite models in the public eye through brand advertising.
Cecile DormeauCecile Dormeau
Tableaux
Tableaux photography is a type of art in which the subjects of image are staged. Tableaux is used to describe a painting or photograph in which characters are arranged for picturesque or dramatic effect and appear absorbed and completely unaware of the existence of the viewer.
‘Tableau’ derived from the French term ‘Tableau Vivant’ meaning ‘living picture’. The term is relevant to many art forms including painting, where it first stemmed from and it has since gone on to become popular in photography and sculpture for visual and aesthetic representations. In the theatrical context, the actors/models do not speak or move throughout the duration of the display they are presenting during a play or show etc.
When I think of tableaux photography, bearing in mind I have never performed it myself or photographed due to the prospect of being motivated to due to my lack of interest in it, I personally do intend to concentrate my time too much on it because I feel like it wont suit my artistic style. However, I am definitely up for experimenting with the historical technique which is still in use now, mainly for theatrical reasons however but I feel like I could enjoy this style once I have planned a shoot for it. This is because I enjoy photographing people and faces. I feel like I can definitely envisage what I want to achieve once I have the subjects inf front of me , and, from what I have learnt of tableaux photography so far, it looks like it needs a lot of patience in order to make the position being performed.
An example of tableau photography can be seen when looking at the worm of Ryan Schude. He photographs set up scenes as if they have just come from a movie and I love his work. I cam across him by chance and I was instantly attracted to the images due to the mayhem that is often occurring in each image and it is always at a particular location and the subjects are all performing something different to each other which is what makes it so interesting because there is always something to look at. I also love the colours that are present in the images andf they almost look vintage which is what I presume Schude has attempted to give the idea of original tableau vivants – the costumes of each character aids this effect and the mise-en-scene.
Ryan Schude, Tableau Vivant, Crazy Pool PartyRyan Schude
Tableaux photography, to me is different to documentary because it is not known as much to document serious issues and its aim is not to pave a pathway for social change. This is because of where it derives from, being theatrical purposes.
Seamus Nicholson, another tableaux based photographer
His artist statement explains his work in a sentence and is revolved around documentary combine with tableaux and how he can create a snap shot moment with his camera to get an insight in ordinary peoples lives.
“My work seeks to express the surreal and the unexpected found in ordinary everyday moments. I draw inspiration from cinema and the traditions of tableaux painting as well as from direct observations of life. I am interested in combining elements of documentary and the snapshot aesthetic.”
Sian Davey is a British photographer who likes to link psychology with her work. She began taking photos around the time of her dads death. According to Davey, she used photography as a way of making sense of her life. She says “I felt the need to create something, to make a sense of it.” Davey was a psychotherapist for 15 years before becoming a photographer in 2014. She describes becoming a photographer, as a “Instinctive move”
Davey’s work is very personal , for example, her series called Looking for Alice. In this series, Davey has a very tender look upon her daughter, who has syndrome. Davey has a very strong, loving relationship with her daughter, which is presented well in the series. A quotes from Davey says “Alice was born with Down’s Syndrome but is no different to any other girl or indeed a human being,” she adds. “She feels what we all feel. She needs what you and I need.” Davey uses her strong passion with this subject, and conveys it throughout the series. Here are a few examples from the series Looking for Alice.
The images in the series are environmental portraits with a spontaneous feel. Davey manages to capture the images at the moment they happen, rather then placing, and asking the figures to pose. I really like Davey’s style and the way she is able to capture the true personality of her daughters.
Sam Harris is an Australian photographer who taught himself as a teenager. He started his career in 1990 in London by photographing editorial portraits and sleeve art for numerous recording artists. His first huge success was creating the sleeve art for My Bloody Valentine’s Tremolo EP. Harris took a break from photography to focus on his family, and the later decided to journey to India. They decided to move and settle in rural Australia. During this process, Sam began experimenting within different aspects of photography. He decided to focus the camera inwards and looked towards his family. Harris now shoots his on-going family diary, and makes photo books to share his passion. Here is an example of a page within one of his photo books.
Harris did a project called The Middle of Somewhere, whilst he was with his family in Australia. He described the project as “A celebration of childhood and family life through a collection of simple yet beautiful moments of two sisters growing up in the remote Australian wilderness.” The project is taken from a visual family diary, containing images of his daughters while growing up. The work is a celebration of childhood, family life, love and the simplicity of life for Harris in Australia. He also describes the diary as “an attempt to preserve something of our lives living together” Here are a few examples of photos from the project, “Middle of Somewhere”
The images in Harris’s visual diary are observational photos with a classic interpretation within them. Harris has an interesting perspective on family life. He focuses on the tiny details, and the small, unique aspects that make the relationship with his daughters what it is. Underneath is an analysis of one of the many images within the visual diary.
Sian Davey and Sam Harris are slimier in many ways through their approach to Documentary Photography. They both use very personal subjects to focus their projects on. For example, they both used their daughters to take photos of in the projects I talked about. Both photographers use very natural settings to captures the image. None of the photos are taken in a studio, because Documentary photography is about capturing the scene exactly how it is. Visually displaying a real life event. However, there are still many differences within their approach that shows their individuality. Davey takes a more natural approach, capturing the whole scene. I believe that Davey’s photography is more old fashioned, in terms of how she uses natural, urban colors through her work. She also shows more of the environment within the image, so that it’s easy for the viewer to visualize where the photos was taken. Harris uses a more modern take on documentary photography compared to Davey. He likes to focus on the smaller details, showing none of the surrounding environment. I like this approach because it’s leaving more to the viewers imagination.
Here I have 3 different pictures in one. Did this by using the lasso tool and making any picture i used black and white as using the blur tool to make in look as if it was initially in the photo.
Here I s a step by step process of each object being put into the photo.
When Jonny Briggs last visited the school he gave us a task. This was to destroy the same image multiple ways whether that’d be done using analogue methods or digitally.
This is the image I chose as I really wanted to explore the idea of loss and only knowing a certain person through photos and stories told by other family members. In the photo is myself as a toddler sitting on my great-grandfathers lap reading a book. As you can probably guess I cannot remember this moment however I have heard stories about him and have used this in my work.
Analogue
For the first image I used water to rub and remove the ink that was used to print the picture of my great grandfather. This gave the photo a faded look showing how the memories of my great grandfather have faded over the years. It could represent my families tears that had been shed over his death.
The reason I covered him in fluff from a dog toy is because he owned a pet cat named fluffy. When I thought of my great grandfather I always thought of his pet cat this wasn’t just the case for this grandparent, I also did this other grandparents my other great grand-dad had a dog called brandy so he was known as grand-dad brandy. This is why I covered him fluff as I related him to the cat he owned,
For this picture I got mud from the garden as well as herbs. This was meant to represent what his life consisted of as he was a farmer. His whole life consisted of looking after the farm and looking after the animals on that farm. This is just one of many things i have been told about my great grandfather and yet again my memories of him have been built up and enforced by others that actually knew him. So because of this again I have covered him with dirt as I remember that he was farmer from other peoples stories however that’s not how I remember him.
In this photo I have cut a hole where his heart would be, placed a tomato underneath that hole and using scissors I cut a crucifix into that tomato. The reason I did this is because out of the many things he grew was tomatoes, my grandmother told me he loved tomatoes. My dad also told me that he didn’t find out he was a christian till very close to when he died. This came as a shock to him as he had never spoken about this before. This showing a significant thing my Dad didn’t find out till very close to his death. I didn’t want to make the crucifix too obvious as the fact he had this faith wasn’t obvious to the rest of my family.
Digital
In this photo I made my head a lot bigger by selecting it on photo shoot using the lasso tool and using re size tool I made it bigger. I did this because when I looked at the initial photo I thought my head looked massive anyway so I thought to exaggerate that.
In this photo I used the mixer tool and another tool I made it look like my great grandfather had disappeared as I have already said I don’t remember him the same way as others in my family even though I am pictured sitting with him.
In this photo I shrunk his mouth as I have been told by others that he had a very high pitched, squeaky and raspy voice that was very distinctive. So I wanted to showing this visually using the lasso and mixer tool.
For this edit, I extracted just the eyes from the original image. I wanted to show my understanding of Jonny’s work and attempt to replicate in my own way but following similar styles to what he does. Jonny makes a habit out of using and focusing on the eyes of some his images frequently and he often takes out just the eyes and makes this feature of the subject within the image the focal point which I love because it is so small and can be so easily ignored yet the eyes can hold so much narrative in themselves because emotions are told through your eyes an the way you look at something. However, what Jonny does not do is make an image or a montage out of just the eyes of people. This is what I have done and attempted to make it personal. I taken the eyes of myself in a picture and the eyes of my dad from an image and merged them into one edit. I wanted to create the idea that my dad’s constant gaze down on me from when I was a baby up until I was a young child, to when I became teenager and still now has been a significant part of my upbringing and is for moist children if you have a dominant male figure in your upbringing. His effort to look out for me non-stop is a huge influence for how I have grown up and what I have become and I wanted to show this in my edit yet a gaze can sometimes become very confused and hazed and I wanted to play a trick on the mind – by pixelating the cut-out eyes, the viewers own look becomes confused. I wanted to show that my dad’s gaze has progressively and gradually morphed into mine and as I become older, I begin to look at things the way my dad does. Especially now with a younger sister, my own look has matured as I have to monitor, as a guardian essentially, someone who is so young and innocent, as I used to be.
This is an image produced by myself influenced by the work of Tanja Deman. I made this edit after the photoshoot we carried out with Tanja herself at the locations, Grosnez and L’Etacq. This was a really enjoyable task and I managed to get some really useful images that I knew I cols use in my collages and edits. However, in the image above, there is only one image used from the shoot and the other, the main image in the background is from a holiday me and my family took to France last summer where there was a pool with a stunning view out to the woodlands surrounding it.
I was looking through my images and was trying to envisage what photos I could use to create an interesting image. This was one of the last edits I crated and I wanted it to be different and more obscure to my other edits where I simply just placed a smaller image over an edited background, often being a vast landscape juxtaposed by a macro. In this edit, I used more Photoshop tools to play about with the layering and re-sizing of images.
I was influenced mainly by Tanja Deman’s work in this edit due to the layering of images and creation of a new environment and narrative and I always had her work in my head when editing in order to get the best possible outcomes where her work was reflected in mine, however with a personal touch. Furthermore, I was influenced even more so, in fact by a photographer Tanja showed us at the beginning of the six weeks called John Stezaker who also specializes in photo collage. Here is one of his works that influenced me:
John Stezaker
Although this is an image simply with one background image and another placed on top, like I mentioned before, it has much deeper meaning in that when you look at the image layered on top of the portrait it is meant to juxtapose a beautiful landscape with a portrait and create the idea that you are looking into the subjects mind or eyes through the landscape. Stezaker purposely used an image that present the idea that it is leading you into the image as he has used a cave as the subject leading lines draws your eyes into where the mans eyes would be – creating a new narrative and completely new image. In his images, he uses postcards as the foregrounded image which is why there is a slight shadow and softness to its edges.
In my edit, I have flipped the subjects to have the landscape int the background and the human subject foregrounded. It may seem as though I have sued three images but it is two.
I began with the image form my holiday in France – it was a coloured image of myself in a pool ring looking out the landscape of woodlands. It is again a personal image to me because it reminds me of fun holidays. I then made this image black and white and attempted to get as much contrast as possible but this was difficult to achieve from the original image not holding much contrast. However, the contrast between the lightness of the pool and darkness of the trees work well. I then transferred the image from the shoot at L’Etacq to the original. I reduced the size and began to find a suitable area to place it. I decided to crop the background image to remove the trees that were appearing from the edges and unnecessary objects at the sides which made it look messy. I originally wished to juxtapose the effect of man made beauty of setting up a pool in front of a stunning and vast landscape versus natural beauty of a beach.
I then decided to, once the image of the beach was positioned, to remove the centre of this photo so that it created the effect of looking through a frame to discover another landscape. This didn’t have the effect I wished for though so decided to place the beach over myself so that you could only see my legs and leave it as this – creating the effect of John Stezaker’s photos where you can only see part of the portrait – provoking thoughts as to what he actually looks like. I didn’t like this so again changed my idea and placed the image over myself in the ring and then removed part of the beach image so you could see me. I wanted this to look as though the smaller image is a frame and you are looking through it to discover me then looking out again at another landscape – creating tis never ending pattern of staring through different frames to eventually find a new way to see the world. I wanted it be as though the audience have to look at me to enable them to then see the landscape in front of them through the beach image. I created this effect by using the ‘rectangular marquee’ tool on Photoshop to cut and paste areas of the photo where I wish and then re-size how suitably. I, mainly, wanted to take the focus away from the natural beauty that is in the collage and move it onto the landscape in the background but imply that the swimming pool and myself become the focal point, taking the attention away from what actually is the beauty. I enjoyed working with the layering effect to create different frames within one frame and enjoyed playing about with deception. Tanja was also attracted to this image most out of all my edits and said she liked that I had experimented more so with the layers and told me to do even more!
When Jonny Briggs visited the school on 04/07/17 for his workshop he held for us, he set us a task to complete for the next time he visits the school on 18/07/17.
“find five different ways to destroy an image”…
I have chosen to destroy one image form my own personal archive. It is an image I have already experimented with – this being the image of myself and my dad sitting at the breakfast able on a holiday in France wearing similar raglan tops and with identical haircuts! I find this one very amusing because of the obvious similarities between myself and my dad when I younger, but still now that I’m grown up I get told I look lots like my dad.
I have already experimented with the image on Photoshop to attempt to alter its look digitally. I do enjoy this method because it allows me to play around with the Photoshop tools and find a weird way to make an image look different. When editing on Photoshop, I found it difficult to let my creativity run wild and my freedom seemed limited because I didn’t really know what I wanted to achieve. I am hoping that when I have the image in front of me physically, I will start gathering ideas as to what I can do to essentially “destroy” it. Therefore, as well as the digital edits, I have printed out around seven copies of the image so I can manually destroy it. I will upload the outcomes from this experiment once complete and explain my thought processes so it is easy to understand why I did it.
Here are the products from my session on Photoshop:
With each edit, I used the same page size and same sized image to show consistency and make a pleasing series of five of the same images it just edited differently. I also chose the same background colour being a faded out black because I felt like this allowed the image to stand out best.
For this edit, I extracted just the eyes from the original image. I wanted to show my understanding of Jonny’s work and attempt to replicate in my own way but following similar styles to what he does. Jonny makes a habit out of using and focusing on the eyes of some his images frequently and he often takes out just the eyes and makes this feature of the subject within the image the focal point which I love because it is so small and can be so easily ignored yet the eyes can hold so much narrative in themselves because emotions are told through your eyes an the way you look at something. However, what Jonny does not do is make an image or a montage out of just the eyes of people. This is what I have done and attempted to make it personal. I taken the eyes of myself in a picture and the eyes of my dad from an image and merged them into one edit. I wanted to create the idea that my dad’s constant gaze down on me from when I was a baby up until I was a young child, to when I became teenager and still now has been a significant part of my upbringing and is for moist children if you have a dominant male figure in your upbringing. His effort to look out for me non-stop is a huge influence for how I have grown up and what I have become and I wanted to show this in my edit yet a gaze can sometimes become very confused and hazed and I wanted to play a trick on the mind – by pixelating the cut-out eyes, the viewers own look becomes confused. I wanted to show that my dad’s gaze has progressively and gradually morphed into mine and as I become older, I begin to look at things the way my dad does. Especially now with a younger sister, my own look has matured as I have to monitor, as a guardian essentially, someone who is so young and innocent, as I used to be.
With this edit, again focusing on the eyes, I have taken this particular feature out this time. With this edit, I decided to make it more simple and not edit the photo in any way apart from to take the eyes of both myself and my dad out of the frame. This is something Jonny does in his photos and was something I was really drawn to because of its simplicity but complex meaning behind it. I decided to remove the eyes of both subjects because although eyes can tell a million words through the way you look at something or someone – whether it be love or passion or anger etc. I wanted to address the idea that emotions can be so easily ignored and although you may look at someone with love, other gestures, such as your body gestures and your words can play a part in getting across your message. I also anted to see the effect of removing the eyes in this image because they actually play a big part in the story told because my dad is looking down at me, with what I now is love and happiness, however, I am looking away. But we both have a smile on our faces and this is what can show the sense of love.
Jonny’s image
This is the same edit as the one above, however told in a different perspective to get across a different meaning. Where the space was that the eyes originally filled, I have filled this with a red block. The reason I have done this is very simple and was just an addition tot he original edit to show a different narrative. I chose to colour the negative space red because red is an iconic symbol of love and we, most of the time use our eyes as a way of telling someone we love them if it isn’t verbally. This isn’t my favorite edit but I do like it and I have focused on the effect of love and showing this through all my edits – the love that is shown between myself and my dad and how strong and powerful it is – that a relationship can provide happiness – also shown in the photo. The concept of happiness is evident to someone who hasn’t seen the photo but for me, it has a stronger meaning and I connect more so with it which I like. For this edit, I simply cut the photo in half in using the ‘rectangular marquee’ tool to select what area of the image I wanted to adjust. I selected the area then copied it, deleted the original and pasted the area I copied so that I could move it about as I wished.
I chose to move the copied area of myself and my dads head closer into the original image so that it overlapped. I wanted to do this so that the arms of my dad which are wrapped around me as I laugh in his grasp were closer together so that it portrayed the idea that he was holding me very tightly – crating a stronger bond and a cohesion between us two. Although, this was occurring in the original, I wanted to emphasise this further, therefore moved the copied area so that I was closer into my dads abdominal and so there wasn’t as much of assistance between us as before. I also moved the image up a little bit once repositioned so that the table edges were in line with one another. And as you can see, here, I have again opted for the concept of love and creating strong bonds.
Jonny’s image
This is my final edit that I produced and is one of my favourites because of the addition of text. I have again focused on what the eyes of each of us – myself and my dad can say and what they tell the audience. I cropped out the head of myself and replicated this four times and did the same with my dad also. This forces the viewers to look at the face’s of us only and derive some menaings and thoughts just by what we look like and what the orginal image may have looked like if they hadn’t seen it.
I wanted to confuse the audience again so flipped my head once cropped to face the other way to the original and I also moved my dad’s presence to the right of me instead of to the left – which is what the original was. However, to provide a clue that I have cropped the image, in the photos of my head, you can see the mouth and chin of my dad in the upper right corner – hinting that that he was originally looking down on me, however, now looking down at nothing. The emotions are still the same and it can be viewed that we are both smiling at nothing – perhaps there wasn’t actually anything funny in the original image and I am therefore making a new narrative for myself to interpret because I was so young at the time, I cannot remember the time the image was taken.
Adding to the idea of nostalgia and creating new stories and memories – I have arranged both sets of images in the style of a series of images from a photo booth. I really like this effect because each image is the same and it hasn’t changed as the series progresses which is usually what happens when having a mini shoot in a phtobooth. I wanted to show the idea of repetition in our lives – maybe going to the same holiday destination every time because it was what I liked and what my parents knew was safe (in the image we were in France).
As well, I have added in some type this time because I felt ike it would add an extra layer of narrative and give the overall work some more character. I chose to use the words ‘those loving eyes’ as I wished to narrow down the image to the focus of eyes and how they pay an important part in this image to tell a story and show emotion. I decided to replicate the word ‘loving’ several times as it works its way down the page fading gradually to black – showing that love is so easily lost at times in terms of romantic reltionships and I wanted to show that love is such a delicate thing.
For this edit, I simply cut the photo in half in using the ‘rectangular marquee’ tool to select what area of the image I wanted to adjust. I selected the area then copied it, deleted the original and pasted the area I copied so that I could move it about as I wished.
