Where – This photo-shoot is going to take place at the end of St. Ouens Bay , L’etacq.
What – I will be photographing different areas of the sea and rock to get some different angles and dynamic photos. The wind and swell will be strong so this will create lots of white water which forms powerful waves.
When – This photo-shoot will be taking place on the weekend with the weather being an overcast of rain and heavy clouds making it seem darker than usual in the afternoon.
Why – I have decided eta do this photo- shoot to capture different parts of the sea at different angles and to also have a bunch of photos to play around with on Lightroom to edit and create an interesting piece.
camera settings will be as such – 800 ISO , Exposure – Between – 100/200
Contact Sheets
Editing
For my editing I firstly made the image straight and cropped out any sky and trimmed the bottom to create long rectangular photos. Next I decided to turn them into black and white and played around with the contrast, highlights and shadows. Finally I changed the levels of how much white and black was allowed into the image. Black being the rock and white being the foam from the sea. Setting these final 6 photos together and laying them out to seem as close as one image cut into 6, I came out with this…
Final Outcome
Evaluation
This type of photography is more seascape than landscape. I find this type of photography interesting as when capturing different angles of a rough sea smashing against rocks form great powerful images that can relate to romanticism. Editing these images to be black and white in my opinion give the photos more depth when put in a group as above. Cutting out the surroundings and trimming the images to fit as a long rectangle make these photos effective as you wouldn’t be able to identify where the images was taken. The surrounds are not to be seen, therefore more depth of thought goes in to the images when analysing them. If I was to do this photo-shoot again I would change the scenery a bit as capture images from completely different beaches and also go in different weather conditions to compare my images from now.
For this photoshoot the lighting and weather allowed me to capture the subtle tones that Luigi Ghirri famously represents in his own work, however my work has a much darker tonal palette. Ghirri also takes many of his photos at the beach, so I felt like using him as an artist reference ties in well with the topic of coastal landscapes.
I believe the images highlighted in green are best photos because they capture the simple contrast of colours, shapes and the use of leading lines that is common in the works of Ghirri. To edit these photos I could use Lightroom or Photoshop in order to increase brightness and decrease contrast to make the tones lighter and more similar to those of Luigi Ghirri.
The photos highlighted in red are my least successful images because the horizon isn’t captured at a straight angle and in general I don’t think they represent Ghirri’s work as accurately.
Photoshop Development
Original Image
Edited Image
Original Image
Edited Image
I used photoshop to edit these photographs in order to make them more similar to the work of Luigi Ghirri. I did this by increasing the brightness and adding blue-toned hues to give the image the pastel aesthetic that Ghirri achieves.
How I edited these photographs
Firstly, I used the colour balance adjustment to add the blue tones and make the grey sky slightly more vibrant.
I then added a blue-green hue to the image to further accentuate the blue tones. I increased the saturation to highlight the pastel colours and increased the lightness to make the colours lighter.
Finally, I added a cyan colour filter to make the blue tones even more prominent.
Luigi Ghirri, born in Scandiano, Italy in 1943, was an Italian artist and photographer who gained recognition as a pioneer of contemporary photography. Ghirri began his career in the 1970’s, when he was heavily inspired by conceptual art. He went on to create his first two pieces, ‘Atlante’, in 1973, and ‘Kodachrome’, in 1978. Luigi Ghirri’s work was featured in many exhibitions around the world, as well as being invited to the ‘Photokina’ in Cologne in 1982, where he was acclaimed as one of the twenty most significant photographers of the 20th century for his series ‘Topographie-Iconographie’. He later died in 1992, due to a heart attack when he was 49.
Examples of Luigi Ghirri’s work
“Marina di Ravenna” – Luigi Ghirri (1972)
“Verso La Foce Del Po” – Luigi Ghirri (1989)
“Riviera romagnola” – Luigi Ghirri (1989)
Analysis of Luigi Ghirri’s work
“Campagna emiliana” – Luigi Ghirri (1989)
This photograph titled ‘Campagna emiliana‘ depicts a derelict Italian rural landscape. At first glance, there is a very muted colour palette and a very simple composition. This is an iconic combination for Ghirri’s work, as he captures the juxtaposition of nature and artificiality in a simplistic way. Ghirri’s use of subtle tones create an almost deadpan view of the world, as his contemporary lens produces an anthropological reaction to his surroundings.
The natural, soft lighting in this photograph forbids any prominent shadows or highlights from standing out, there is no true sense of direction to this lighting because of this as the angle of shadows indicate this, whereas there is a lack of this in the photograph. The lighting is evenly distributed for the most part in this image, although there is a slight sense of darkness towards the top right third of the photo.
There is a clue use of lines within this photograph which can be seen as a form of repetition. Due to the cropping of the image, the lining of the beach is very uniformed, as well as the thicker lining of the road and the juxtaposing thin lines of the walls separating the road and the sand. The use of thin lines can also be seen metaphorically as a separation between the natural world and the artificial world, which is shown as a fine line to separate the two. This could be said to prove the almost indistinct segregation between man and nature, and how they begin to merge in the modern world. There alternating lines also create the multiple leading lines for the viewer, to direct their eyes straight forward towards the horizon in the middle third of the image.
Repetition is represented in the form of lines in this image, however these lines are contrasted between each other with different sizes and colours, therefore the use of repetition in this photograph is contradicting. On the other hand, there is no representation of echo or reflection in this photograph.
Geometric shapes heavily influence this image as well as a lot of other works by Luigi Ghirri. This is proven once again by the repetition of straight-edged lines. The photo, for the most part, is made up of long squares that carry the viewers eyes to the horizon in the middle third of the image.
There is a slight shallow depth of field in this image as the image begins to fade towards the middle third of the image. This is due to the distance of the image paired with a lower f-stop of around 1.4. The majority of the image contains empty, negative space. However the bottom third of the image consists of positive space.
There is multiple contrasting textures within this image. For example, the smooth, even road is contrasted against the rough sand, which is then contrasted with the sharp-cut grass.
The darkest areas of the image would be the grey-toned road and the dim section around the horizon. These are juxtaposed against the lighter areas like the light yellow sand and the gleaming sky. Overall, the image tends towards the lightness, due to the muted, pastel colours in the photograph.
The colours in the photo are very muted and subdued, due to the use of natural daylight, which I believe was taken around midday as there is no sign of a sunset or sunrise. The dominant colour in this image, I would say, is the blue sky. This is because the light blue contributes to over half of the image. I think if this image was taken in black and white, the juxtaposing textures and tones would be increasingly exaggerated .
The image has a rather simple composition due to the repetition of lines as well as the image following the rule of thirds, as the leading lines simultaneously stop in the middle third of the image, and the horizon separated the top third and the bottom third. I would say the image is balanced as the positive space in the bottom third is evenly contrasted with the negative space of the top third.
Romanticism was a cultural movement that emerged in England and Germany at the end of the 18th century and spread throughout Europe during the 19th century, until the 1850s. It expresses itself trough literature, painting, sculpture, music and politics.
Der Wanderer über dem Nebelmeer 1818; Germany
The Man Contemplating a Sea of Mist is a painting by the German romantic painter Caspar David Friedrich. It is preserved and exhibited at the Kunsthalle in Hamburg. It was composed from 1818 and is, along with La Mer de glace, one of the painter’s most famous works. In the foreground, a man stands on a rock high, his back turned to the viewer. He’s wearing a green frock coat
Archive images are images that are stored and kept away images for people to be able to see them in the future, for the purposes of learning about the history of an image or to see the difference of an image through out the years to analyse it.
This is an archive image of St.Brelade’s that was taken with the view of the bay facing towards Ouaisne, in between the years 1850- 1920 as an assumption due to there being no information on when the image was taken.
Juxtaposed Image
Here is the image that I ended up editing by the use of two images of St.brelade’s bay from years ago and St.brelade’s bay today. The process i went through in creating this image was by getting up both of the images on photoshop, then cutting out certain parts of the old St.Brelade’s bay, then copying and pasting it onto the new one and adjusting the cut outs to fit in the image.
Industrial landscapes are man made landscapes which look very industrial, mainly construction sites, power plants, chimneys, and factories.
Industrial landscapes are rising in natural habitats and urban areas, changing the natural aspect of earth creating unique geometrical shapes.
The contrast between the sharp unique silhouette of a factory within our natural world. Photographers have made abstract shapes with industrial buildings. Monochrome photography is also popular for industrial photos to get the image to contrast more.
Examples Of Industrial Landscape Photography:
Urban Landscape
Urban landscape photography focuses on more culture and lifestyle.
Humans rarely appear in the photographs yet you can feel the presence of life and culture. Both cautionary and confessional, they also define challenges facing our global future.
Examples Of Urban Landscape Photography:
Photo Shoot Locations
When taking my photos I want to focus on the idea of dereliction, old and new, altered landscapes and car parks. With an overall look on change.
I used cutting tools in photoshop to separate various elements in the compositions to re-layer and reposition them.
I also added archival imagery and repositioned them in a way where they would look surreal but still play to the form and structure of the original image. I used this vintage imagery on my recently taken street culture images to create an element of postmodernism.
I went up to st ouens and photographed sand dunes and the coastline. I went when the weather was sunny with blue skies as I wanted bright lighting and not a rainy background.
contact sheet;
I like how these images turned out because there’s no sign of buildings or any man made aspects which is perfect for rural landscapes. I wanted to find a very open space and went to the sand dunes as well as photographing some coastal views.
