Photography essay

Question:

quote : “The sublime is something which has power to compel and then destroy us. Pleasure is only pleasure if it is felt and the same is to be said about pain. ” E:burke .The area I have chosen to study is the historical movements which have inspired many surrealism concentrated artists such as; Tim Walker. I have chosen to do so, as I believe his work can be viewed within the premise of romanticism, and often shares similarities between the aesthetic theory of the sublime. This combination of power is often seen as metonymic. (not needed – begin intro with sentence below – you may be able to use last sentence in relation to Tim Walker elsewhere in the essay)

During the 1800’s, many creative pioneers (such as) philosophers, writers and artists ,began to propagate a new vision of the world, to which they coined ‘romantic’ It was an exploration which covered the ideas of nature being a divine spirit, this universal immersion of creative minds yearned for the harmony of man and nature. These ideas soon developed into traditions of antiquity, soon many artists no longer wanted to produce work which was characterised as ‘named artistic style’ turning their back on traditional renaissance work. In contemporary usage this subsequent art movement now carried with it many connotations seen as ‘romantic love’. Romance is formed off the combination of sentiment and sentimentality, However, It allows the thinking eye to add more value to what it sees, So subjectively many would agree 

The sublime is said to be ‘an instance of instances’ This was said by Roland Barthes, when he was staying why and how photography has the ability to enable emotions. It causes an independent reaction to each person’s’ emotions and what they believe to have seen, as romanticism. These experiences are those which transcends rational thought, words or language. It is an experience which is a meeting of subjective-internal (emotion) and the objective- external (nature). (well written!)

The creation  of romanticism as well as being an emotional response and an ideological concept was not only to show beauty within a non -altered landscape, but it was a reaction against religion. And an  emotional response to their work as it was an ideological concept as it went along  with the revoltionsairies and other forward thinking painter. In the 18th century break from religion, when science become the hegemonic ideology, the inventions heathen? started o undermine god, and creates a scientific basis of the world. So (don’t use word so – be more assertive and state your case!)  the Romanticism was apart of such a revolutionary time, war of independence, in colonial history …. British

End your introduction with describing which artists or work of art that you intend to discuss in your essay and why. How does their work relate to your themes of Romanticism and the sublime. Last bit should be you talking about your photographic responses ad how they interpret the same themes and essay question

(Paragraph 1) The hypothesis I propose to answer is…..To start off my investigation I intend to look into a painting which is based from the ideas of the romanticism movement, and also to which I personally consider to be sublime to myself. The piece I have chosen is called ‘a sea storm’ by Claude-Joseph Vernet. The piece was formed off the impulses of the eighteenth century, this new philosophical artistic view of the world incorporated a new intellectual view in to their art pieces. They incorporated the validity of aesthetics , including the ineluctable values of the sublimes alongside beauty based off individual taste and sensibility. The new physiological impacts concentrated more on the sensational aspects of nature and less on the subjectivity to each individual person. To my mind this painting denotes excitement, Power and strength. The Reserved strokes of genius from a oxymoron of spontaneity creating a intoxication of fasciation of man versus nature within this painting. The incorporation of narrative charters a new exotic archaic means of experimentation. Finally the colours of the pupils and dark tonal colours mimics that of the fallen, this is a pavement for ‘pleasurable terrors’ of human passions. I believe the impact of Edmunds Burke’s ‘A philosophical enquiry into the origins of our ideas of the sublime and beautiful’ creates a formal description of figurative passions. Burke states that  ‘I say the strongest emotion, because I am satisfied the ideas of pain are much more powerful than those which enter on the part of pleasure. Without all doubt, the torments which we may be made to suffer are much greater in their effect on the body and mind, than any pleasures which the most learned voluptuary could suggest, or than the liveliest imagination, and the most sound and exquisitely sensible body, could enjoy.’ (reference using Harvard system) At this time Photography was not a normal means of developing a landscape, This encaptures the thought of the individual emotion.  (reference using Harvard system)Historically the sublime is a term in which refers to a greatness beyond all possibility of calculation, measurement, or imitation’  It was first written in the 1st century AD though its origin and authorship ,What the developable outcome is from a piece of art of photography in an essence  (reference using Harvard system)what has been taken and experienced by someone, can not ever be repeated. So Both romanticism and the sublime, have the challenge of capturing a feeling which was only experienced by themselves. Developing from romanticism this combination of nature, fantasy and undertones of imagination, leads us to the intellectual artistic transition of Tim Walker.

(space new paragraph) Tim Walker has many associations many with international magazines, his exposure exposes a history of deep lasting knowledge and understanding of British culture. Many of the areas his work is accomplished through a romantic ‘spirit of place’ said to be rural and paradisal?. His exciting talent made him friend with many, describing him as ‘ A strange fox-like person’ (reference using Harvard system) He is fearless to capture human physiognomy, his sensibility is overshadowed by his glorious colour of flamboyance. The raw freedom of eccentricity creates himself a ’ artistic bohemia’. Walkers tablo? tableaux worldly images inspired a transgressions of ‘out of place’ beauty combined with incoherent objectification of mythology. Forming interesting compositions that could be addressed too as ‘sublime’. He encapsulated an understanding of social and political issues in a childlike expression of beauty rather than disagreement or anger. His angel of postmodernism fashion photography is stemmed from the authorship of expression paved before him through the creation of romanticism and the ideas of the sublime.

A Tim Walker piece that had a great influence over myself was this piece, Its named ‘ ‘ I chose this image due to the confluence of meanings. The piece enquires a generosity of spectical. The elements of surrealism echoed through the mystical atmosphere and reflected within the leant pose and bright colours that the model herself radiates. It does not objectify for but give herself an understanding of infinity, as she has an obvious place within the narrative.  The aesthetic of darker colour gives the icon a dominant strength and agency of female empowerment, something typically not expected to be seen through the perspective of a male photographer. The plurality of…

The connotations this image has to the sublime ,is the effects of pleasure and pain. Although there was no direct reenactment of this word, it still obtains influence of words derived from his, such as desire. Desire and erotisism is prevalent is much of surreal works, this provokes the image so the reader sees and endorsement of excitement. This soon can either transpire into love or power, and in this case, it is the power that is entirely bounded between normal living. The height and bottomless depths forming from both ends of this pieces, transpired into the pengamanan that is a physic; a representation of ecstasy. This moral …….This image in relation to Burke…… The mystery and smokey effect of the light itself, creates a trakuent influence of romanticism, creating a delicate sense of atmosphere, mimicking the femininity of the women centered in the image.

This leads myself onto the analysis of my own work. I had such a strong influence of surrealism, and emotion depends on the judgments of pleasure and pain. And I think this is evident through my images. I have chosen this piece; as it undergoes a repugnant change it is as if the image itself is a distant reality and and a dream like desirability of towering virtues of ecstasy. It is essentially a surrealist image, although my intentions of this was the development of the inability to breath underwater, creating a juxtaposition of the beauty that if water, essentially is the effect of nature trying to kill you. It creates an irony of how the sublime is  alive for pain, and how we take pleasure from being submerged in something that has the ability to end our lives.

How the sublime and Edmund burke goes into my work?

An older art piece, based off that of pictorialism, also gave me inspiration to focused more towards female models and friends in order to re-create and make an effective embodiment of surrealism and not sexualization. Pictorilasm was occurrent in the 1880s-1920’s this is when new cameras were developed in this time and jersey was part of a large revolution and hot bed for photography and experimentation.Soon photography was the  height of impressionism and was developed less from science and derived more into art. These allegory paintings, they are based off a short story and myths from more biblical tales and then further depicted into literal paintings. These allegorical and spiritual matter of religious scenes applied the principles composition and design but the subjective spiritual motive.

 The Artists who I looked at was that of; Artist: Julia Margaret Cameron. Cameron was a photographer in the victorian era. The bulk of her work from the categories, this being illustrative allegories based off religious and literary works. In the allegorical work in particular her work had a clear influence from that of pre rapaetlite. her work has delicate limp poses with soft lighting. Her work was unconventional through the intimacy created through he long exposure, her subject moved and by leading the lens intentionally out of focus. -allegory and symbolism within this image

A second piece by Tim walker that was influenced by pictorials, surrealism and romanticism, was that of.. Surrealism within his work is the most prevent aspect, surrealism was founded……..

Male gaze: For as long as it is known, the female body has been used as decoration in much of photography, many models seen naked with a cornucopia of little respect given to them other then what the male bodies desire. The reaction to the continuously provocative use of women to my mind is a predicament of the current cultural time we live in today and If it is still okay to use women as a fundamental trend of pleasure. During the age of when art was born it was visual culture to pain them naked, however; This art would only ever be made for capitalist men creating a fallacy. The exorcism son continued into Pictorialism, usually only prevalent within male works. The visual of female nakedness attributes a sentiment of ‘the male gaze’ to Tim Walker’s work. I don’t believe there is such a thing as ‘female’ or ‘male’ photography. Through only showing the dominant rhetoric of narrowing women to their nakedness, it connects to an unfortunate wider view of gender inequality. We need an artist who despite them being male, they strive on the unprecedented phenomena  of focusing on femininity being heard. A dialogue, purpose, s prolific sense of womanhood having a significant meaning other than their bodies. I believe Tim Walker is this photographer. It is key there are photographers not only female such as ‘FEMALE PICTORIALS PERSON” who too can establish a neutrality and establish an enquiry and impulse to photographing a woman without misconceptions as to why.

This was also reflective when I was looking into that of pictorialism, and the way to which ,, Interdisciplinary approach ,,My own imagery which is an indicative to that of the influence of pictorialism and perhaps also able to be seen as a rejection of how….

Artist: Julia Margaret Cameron is an artists who was a photographer in the victorian era. The bulk of her work from the categories, this being illustrative allegories based off religious and literary works. In the allegorical work in particular her work had a clear influence from that of pre rapaetlite. her work has delicate limp poses with soft lighting. Her work was unconventional through the intimacy created through he long exposure, her subject moved and by leading the lens intentionally out of focus. This leads me also into looking at how unique it was to have a own who has. algae influential photographer at the time. Her work is very different to anything that a man would produce . Women are looked at as pure and seen to have. loving relationship with family and sister in a clearly taboo and posed setting, almost table like. The has a strong juxtaposition to that of the male sense of photography at the time.The mans eye and the photographical gaze, Women historically are being looked at different through the representation is often eroticised and objectified.these naked figures seen as art for only the pleasure of men. However a female would show herself being empowered as a mother and ally clothed showing the sexism within the period and soon this leads onto larger post modernism topics such as feminism and the fight for women rights and want for less sexualisation of their bodies.

I decided to create my book I would not use indesign and blurb itself, but I would create my own book from scratch using book wright, also enabling myself to work on the development as much as I am able. I want to record the processes to which It has taken me in order to create my book. I originally started with creating a folder of all of my images from every single one of my shoot, the ones from the sublime and previously. This led me to choose from around 12 shoots. However I know my concept now is inspired from emotions from the dependency of water with a surreal aspect of being represented and a sublime influence. Because of this I narrowed down my shoot collection to around 7. I not only want only conceptually interesting images, but also a similarity in colour scheme to create a bettering narrative story.

I want to create an almost surreal type of book with my imagery, most of which I want to correlate with the colour. Many of my images I purposely edited in such a way that they would have a blue effect in order to have a clear connotation to that of water. Because of this I belive it creates another aspect which need to be thought out when sequencing my images. I have started off by experimenting within 5 different ways in which I can experiment within the lay out of the images, these being the following: a double page spread, 3/4 of a page, a singular image between two pages cropped or overflowing the page, two images beside each-other sequenced in the middle of the book and finally a long image next to a squared image to create an unsequenced essence of variation.

Three issues I am having to experiment with is the amount of images and pages I should include within the book itself, This is also down to the amount of photos I should have over the two pages and how many images I belive should be included within the book itself. Secondly is the issue of having images which are too similar in the book or too close to each-other. I have decided My best shoots are my 3-4 most recent ones using water, because of this a lot of the images could be considered similar. I do not want to show an element of repetition within my images as I belive this would be considered as boring. Because of this I am unsure weather I should expand and add previous less sublime images, or use the best water images and just creating a smaller book. Lastly I do not know what I am doing with the text yet. I have prepared and left spaces for poems and stories if I believe it would be the best way for me to enhance my work, however I am still unsure what the written work would be. I am planning to do a physical print off and examination of all my photos in order to see what is best and the most appropriate, however I thought it would still be beneficial to start with the development.

I wanted to edit and mostly experiment with images I have taken more early on in the project, in order to emphasis more of my current themes onto the images themselves, this being water… The themes I have been inspired to edit according to are: Pain and pleasure, Emotions,Loss and rejectionThe sublime, surrealism, romanticism,I also wanted to do a small experimentation inspired from ‘ The earth Is just a little spec of dust under our feet’, and using my photos of rocks and too using a rainbow effect over the top creating a more mystical effect to the imagery itself. cReating more correlation to my images I currently have.

3. Deconstruct the narrative, concept and design of the book for ‘ the earth is only a small spec of dust under our feet’

Book in hand: how does it feel? Smell, sniff the paper: the book in hand has a soft fabric feel in the outter wrap , I feel as if this was purposeful in order to further distinguish the unique elements of the book as a whole, The front also has a unicorn showing in a silver text, this creates a deep contrast and allows the feel to have a significant difference in depth, once again showing connotations of a mythological influence.

Paper and ink: use of different paper/ textures/ colour or B&W or both:  All the paper within the book is white thick glossy photography paper, this is done in order to be able to represent the light and colour of the images in an exaggerated manner, which is more utilising to the colourful vibrancy of the mythological images. Every page within the book has an image on it or next to a set of text. I believe it would be interesting to look more into perhaps if the text should be on a different paper to the glossy, in order to make the story feel more authentic and old, and something the audience and reader would appreciate.

.Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages: The size of the book, is around 1/4 smaller than a4, I believe this is done purposely as it would be used as a book people bring in hopes to too experience these mystical journeys, but also the unique size further emphasis the individualism to the text. It is portrait orientated, I believe this is due to it focusing on separate individuals throughout, and demonstrating many portrites of them throughout. The book is quite large It does not supply a page number, But I would guess it was around 300-350 pages.

Binding, soft/hard cover. image wrap/dust jacket. saddle stitch/swiss binding/ Japanese stab-binding/ leperello: After further inspection there are many interests within the book of maps and interesting necessities to further develop the journey. This is fascinating as it allows more of a believability and relationship within the people spoken about in the book itself. The covers is hard but covered with a thin fabric with free embroidery embellishment. The front is not an image taken but a design construed off the inspiration of the whole journey. The binding of the book is quite interesting, because it is divided into sections of each shoot. At the beginning and end of the book lies a section of coloured rainbow images, while within it is different it combines individual stories. This is a new constructive narrative to the book which I believe to be fascinating and An interesting composition which would be good to look more into.

Cover: linen/ card. graphic/ printed image. embossed/ debossed. letterpress/ silkscreen/hot-stamping:I believe perhaps it would be interesting to add many more conceptualised and extras into a book, however, I do want to add features within a text that have not been well thought out for a specific purpose, because of this I will think and consider in the future wether it would be worth while to add some of these aspects or not.

Title: literal or poetic / relevant or intriguing:The title is very unique in how long it is, and how symbolic and poetic it is . It bring about such a strong intrigue. It is not written on the front but the side, it is a poetic and perhaps wonderers unique view in order to how people construct the idea of life and what is true and what isn’t. I think it would be fascinating to come up with a title such as this, and will definitely be a strong inspiration for my own individual work.

Narrative: what is the story/ subject-matter. How is it told?:The narrative is many different mini stories, all with the same structure of discussing that of spiritual and mystical experiences which many would presume to be fake. It is shown to be respected and not something which is told throughout to be untrue or not possible, it is an exploration into things we do not know about, and is told form the individual unique viewpoints.

• Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative.

Many of the images come under similar characteristics or categories. Two categories which are current throughout the book, as that of people who have told their story being surrounded by rocks and crystals, this is a dynamic way to show each individual but still showing the direct connection to the themes of mystical fantasy. Secondly many images of rocks are shown throughout, a way to be fitting with the concept, They are shown with different combinations of rainbow patterns internalised over each rock landscape, this is very unique and something which I have never seen in a book before. Thirdly there are many landscapes taken of the areas which she travelled around Iceland, they are all taken in the same manner, but not edited, but taken in such a way there is something always beautiful, spiritual and peaceful found within them. Lastly she has some unique ways to capture her images in terms of light and composition, she occasionally puts her individual under a rainbow, or cover her face in sparks of glitter, she does so in order to allow them to glow and connote a visual representation of their spirit.

• Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts.

The images throughout the book have many variations when it comes to size on the pages, many of the landscapes are double pages and objects which show a continuation to the narrative, however many of the portraits and separate images either have a border, next to text, or have a blank page next to them. There is an insert at the end of a map of where she travelled, but displayed as an old fashioned map, i think this is interesting as it completely visualises her trip as a whole.

• Editing and sequencing: selection of images/ juxtaposition of photographs/ editing process.

the sequencing at the beginning and end is both the same, and within the centre is split into double page spread, and portraits of individuals and their stories.  There is not so much a juxtaposition as even is the photos look very different they still carry such a strong visual chemistry within the concept of narrative.

• Images and text: are they linked? Introduction/ essay/ statement by artists or others.  Use of captions (if any.)

I believe the images and the text should definitely have strong connection of themes throughout in order to link them and create a narrative. I will give an introduction to my book as I belive this will be important within the content, and also it will begin linking the text from personal stories and myths. I belive I might try and find or possibly even design my own drawing in order to sync in with the intro and separate parts of the stories themselves. The essay itself is linked quite well to my images with the themes of the sublime and romanticism, i will put this in the back of my book and again will do so, in order for it to be similar to the past myth.

After researching about the photography book ‘The earth is only a little spec of dust under our feet ‘ It really made me think about some pages of text That I feel would really be fitting within the text. I decided to brainstorm over ideas and came up with the following three.

The first idea I had for the text were short stories, about mythological encounters, this could be in relation to sea-storms, sirens or mermaids. I thought this would be a good way to tie the whole concept of the book together, As I have already discussed this concept previously, so already I know it is fitting within my concept. Furthermore, when looking in the book, it was split into three main images. These being the people in a mystical scenario, this would capture my surreal water imagery, then It would incorporate a more abstract colourful imagery in order to give an ability to see the area that was taken place. The colour and way it is shown must be done in such a way to evoke that mystical surrealism, and be more indicative to everyones own impressions. I decided too that I would display the stories in a mythical way, as though on a script, I though this too would enhance the surreal aspect. I belive with the accompaniment of these short stories there is an ability to form a cohesive narrative, rather than a representation of a topic on its own.

During my research into romanticism, which is the base concept to many of my shoots,I found too that female pictorialism was a pivotal moment throughout my own work too, Because of the continuous portrayal of women and friends within this project. Because of this I decided the possible empowerment and non sexualisation of women could be expressed through stories of experiences women have been through, or poetry of what is it like being a women. This allows the highlight issues which women face everyday  which they have to cop through. The women could could be a stance of sublime beauty and power in order to ignight pivotal change.

Throughout this project I have read multiple books upon the philosophers who focus on themes such as the sublime,, and how they are expressed as pain and pleasure. Because of this I could include texts and quotes which philosophers have created when exploring different themes of exoticism and desire.I would divid this into many different themes of emotion that are all included within the images, and also have great significance to that of the sublime, pleasure, pain, desire, exoticism, love, defiance, power, I could do so with then attaching a quote, this would systematically give the book a narrative order and too let the reader apply each emotion found within the image itself.

1. Research a photo-book (select one you have looked at previously in your project) and describe what story/ narrative the book is telling – its subject-matter, genre, style, approach etc.

I have previously fully explored a book circulating the meaning of the human body and the emotions it can express, however, Because I feel as if I have annotated this book enough that it would be more beneficial for myself to look at a different book for a new fresh perspective of inspiration. I chose this book due to its eye catching images based off surrealism, with the contextual side of influences such as mystical stories and the sublime experiences people have shared. All the images have a direct narrative and area of interests, that I too wanted to show in my images.

The creator of this book traveled many breadths from the north of Iceland further travelling to the south, east and West, all in order to search for where magical beings live. She sought out people who have a special ability to see them, asking around in every gas station, library, grocery store or hotel for anyone who could communicate with the Beings of the Earth. She was never deterred but the wild of the Icelandic weather being unforgiving. she persisted through language barriers of Spanish speaking stranger, continuing to trek over the most remote parts of the country. She was powered by her curiosity and imagination, her journey was long, but she found many people who were certain of their experiences. The people Bego visited shared their deeply personal experiences with the magical Beings of the Earth, and she reveals all in this fascinating book. Bego says, “I’m not a dreamer, but I do believe that every reality deserves to be examined and that there can be an intermediate world between reality and imagination.” I find her attitude compelling and I think it was interesting to see an environment of people who would usually be said to be crazed and isolated from society, being shown interest in and welcomed to share experiences. In a fascinating and in such a unique and creative manner.  Not only are her images more surreal in the way she uses composition in order to express and individuals mind, the use of coloured rainbows over images exploits a typical mind set of the mystique. Not only do the images themselves express a reality of stories but the stories themselves are displayed beautifully and shown to be from a demeanour of understanding and belief, rather than of mocking someone. The style of this book is so unique, which is to my mind why I find it so fascinating. Her approach is so individualistic but works for each person in such a unique manner.  Each of her images have the ability to keep their own and are so interesting as an individual image.

2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, awards, legacy etc.)

She made this book in order to find out more about the subject matter themselves, and as an insight into these people and what there beliefs are. The artist believes what these people can see is a gift and should be celebrated through any means, this is why she explores this as a  ability or strength. In order to know how to photograph the person she asks them an arrangement of weird and fascinating questions. She states that ‘nature is our temple, so we call magic things we cannot understand, we have no reason to belive our five senses are enough to see the world, when you turn on the radio do you hear the waves?’ I believe it was well received as it was a unique and a new spectrum of photography work that had never been done before , I do not belive it won any awards, however it was widely loved within many communities. I understand that the audience they are trying to communicate with are those who are also interested within the views and abilities of other people. Perhaps they too think they have an ability, however I think it would be more likely for them to get this book as more of a spiritual development of people and their surrounding. I think due to the writers attitude of love and passion for her discovery of this topic it allows people to see this through her work and so too be inspired.

However not all the imagery is just a fantasy, her landscape imagery shows a significant talent and a complete relationship within the landscape is too found within herself.  Her capability to not only caption emotion, but a distinct and unique narrative to each and every individual is the pivotal point of her unique style and methods. I belive many people would also purchase this book due to the accord of the successful surreal imagery, she is a prime example of surreal art without having to take it through extreme editing, she perfectly captures a moment of sanctity accompanied with fantasy.

If it were possible, I would be interested in too finding similarities such as this in order to make my book more interesting, Including the use of stories to give more of a narrative to my images, Interesting colour concepts that connote the feeling of emotions of the person themselves, The composition and layout of the book having pages overlapping on another and a multitude of images over a double spread. Lastly, The use of having a dynamic design on the front which is an illustrations of the ideas and beliefs of the people, I think the colour and design on the front is part of the unique ability of the book, and creates an interest for the reader.

My primary inspiration for this shoot is the themes of romanticism and surrealism found within a landscape, And also using a seascape to continue the use of water throughout the book narrative. I saw an artists and I was inspired by his work and how he focuses on the beauty and mystery within the landscapes of old derelict buildings and also the lighting and composition of nature natural light. I am not only inspired by this artists work but also have the aspiration to capture slow shutter speed and long exposure images for water landscapes. Again I want to do this shoot in order to create beautiful imagery of the environment themselves which I can use in order to separate from the more surreal portraiture imagery. This shoot will be divided into two over- ruiling  sections in order to capture both that of  more eerie natural landscapes that have water, and then seascapes themselves. Both of which should connote different atmospheres of mystery and pain. Which both fit into that of the sublime. Not only this but the mystery aspect of the shoot itself, has successful connotations to that of the ,mystery of the sirens. Once more the almost dampness to the imagery still shows the elements of water without being too repetitive in the way it is shown. The second half of this shoot will be more focused around that of water, and sea scapes. I have spoken about this previously, with wanting to  show further experimentation of shutter speeds, and also the action of water and also achieving the atmosphere I want, What time and what type of attitude and emotion I get depending on what time I go and what beach. Due to the relevancy of water to want that to be evident within the images themselves, to not overpower the images, as I am already using this as a separation  from the portraiture and more developed surreal of the other sets of imagery.

My shoot:analysis : I decided to do the shoot at around 3:30-4:30, this was around sunset, and the highest the tide could be without it being too dark to actually see the water itself. To start off my three objects of my shoots, which were to get slow motion shutter speeds of the sea, and overview of the beach and as a whole the environment and lastly going into more damp areas to record the way to which the environment looks when it is more mysterious and such. For my first objective I started with the more simplistic shoot, of focusing on the area itself at hand. This being the location and atmosphere I wanted to portray. I decided I wanted to get an array of feeling that could all in some way link to romanticism. In order to do this I experimented within the amount of light I let into the images and the exposure.

For my first location of this shoot, which you can see above was a shoot focused more on the basis of capturing light in different manners, in order to evoke different types of romanticised atmospheres. We have the darker ones which connotes more of typical romanticism, and perhaps evoke emotions of pain and pleasure and an elements of nature vs humans. You too have the ability to see water within all fo these photos. This is important as it

The second shoot was much more a concentrated on an interesting feature within the landscape itself, this being rocks, or a natural composition found. I belive these images have a larger concentration of interest within the narrative of my book, and are subjected to a larger chance of correlation within my work. Unlike the previous shoot, this one is a-lot more harsh, it has a stronger structure and and intensity, it has a-lot less influence than that of the previous romanticism shoot. However my main act for this second shoot was the objective to get images which I would be able to further develop into artists work, such as colouring the rocks with rainbow inspired colours.