Edited using duplicating layers, lowering opacity and altering tones
Edited using iris blur tool
Experimenting with landscapes
“Shipwrecked V” – Naomi White (2017)
To edit these images, I cut out sections of my plastic bag images with the magnetic lasso tool and pasted them onto sections of my landscape images from one of my previous projects. I also changed the hues of the colours and tones of the sections of plastic bag in order for it to fit better into the environment. I think these images look at Anthropocene in a more obvious and direct way, in the sense that nature is being replaced by artificial materials.
More abstract exploration
“Shipwrecked III” – Naomi White (2017)
To edit this image, I used the magnetic lasso tool to cut out shapes of the plastic bags, and layered them onto one layer.
First, I lowered the brightness of my image and increased the contrast in order to create a stronger contrast between the different colours and provide darker tones to the image.
I then altered the curves setting of the image to darken the shadows of the image, and to increase the brightness of the highlights within the photo.
I increased the hue of the image to a blue-tone to enhance the blue hues of the image. I also increased the saturation and decreased the lightness to make the colours more vibrant and contrasting.
To further bring out the blue and red tones of the image, I altered the colour balance to increase cyan-toned colours and magenta-toned colours. This makes both the blues and the reds more vibrant, creating a more juxtaposing contrast.
For my main piece, I am creating a photo manipulation to raise awareness about ocean pollution, so I need photos of :
– Rubbish – Fishing Gear (nets, buoys) – Underwater – The sea – The coastal headline – Boats – Rocks
I made a table to visually display all the photo shoots I need to do for my main piece.
ST BRELADES PHOTO SHOOT
I went to St Brelades in the evening when it was clear, and took photos at the end of the beach that the pier was at. Then moved towards Quasine. Firstly I took photos of the boats in the sand, then in the middle of the beach, I took photos of the sea with the horizon in. I plan to make that the surface of the sea in my final piece. After went to the rocky area, and took photos the larger rocks.
BOULEY BAY PHOTO SHOOT
I decided to get more photos, as I didn’t really like the lighting and the reflections of the sunset from the St Brelades photo shoot. Firstly, I started near the island to get photos of the rocks. Then I went to the end of the pier where I got another photo looking out to the sea. Then lots of photos of boats, and there was a man putting his boat into the sea, so I was able to get a clear picture of the bottom of the boat, which had some buoys on. Additionally, I got some pictures of sea gulls, which I could add into the sky. in Photoshop.
RUBBISH / PLASTIC PHOTO SHOOT
I took photos of various waste and plastic items, such as, plastic water bottles, plastic bags, crisp packets, and, cans. Nothing complicated, I positioned the subject in the centre of the frame, and for the items that had weight like plastic bags, I filled with air to make it look like it would be floating, so it would be easier to blend in Photoshop, and not look out of place.
SECOND PIECE PHOTO SHOOT / PLAN / (If I have spare time)
If I have spare time I plan to create a photo manipulation of space. For my photos I need :
– Galaxy – Foreground photo (white house in St Ouens) – Moon
GALAXY PHOTO SHOOT
I would need to go to a place where there is no light pollution. St Ouens would be a good place. I would need to bring a tripod and a camera. The camera settings would be at the lowest f-stop number, manual focus on the brightest star, wide angle lens (35mm), 800-3200 ISO, shutter speed is 25-30 seconds, but no longer as it would create star trails.
FOREGROUND (WHITE HOUSE) PHOTO SHOOT
I need a subject that would be the foreground, I chose the White house. I would need to go when there is natural light, so I went in the morning (10am) as there was good light and no people.
MOON PHOTO SHOOT
I chose to take photos when there was a full moon. I would use the same setup as the galaxy photo shoot, except the lens. I would use a 300mm lens the capture the moon, with a 1 second shutter speed.
Felicity Hammond, a British artist based in London, is best known for her landscape photography, which fixates on the incessantly changing landscapes and the debris left behind. She creates her pieces through various methods, the most frequented being collage. Hammond has also been known to create video collages, that focus on the earth’s climate crises, such as her piece named ‘Lagoon’, depicting what rising sea levels would do to a city. First studying Fine Art Photography at the University of Gloucestershire in 2011, Hammond then went to earn her MA in Photography at the Royal College of Art in 2014. Presently, Hammond is a lecturer at Southampton Solent University, which she claims helps her to be constantly thinking about ‘the ever-changing boundaries within photography’.
Hammond usually displays her works in an installation manner rather than the traditional gallery. For example for her project named ‘In Defence of Industry’, Hammond presented her image in front of a large light box, and above a water feature on the floor reflecting her landscape.
Felicity Hammond Images
Analysis
Felicity Hammond – In Defence of Industry – 2017
This altered landscape, created by Felicity Hammond, showcases a natural, rural landscape of hills and mountains, that has been invaded by large industrial structures. These beige and white incongruous buildings heavily contrast with the dark tone of the image and the shadows in between the hillsides. In addition, contrast in this piece can also be seen through the difference between the plain and boring tone of the industrial structures, and the rich and saturated hue this image possesses. The leading lines in this collage of images are presented through the ridges of the hills and mountains, as these peaks guide the viewers eye into the background, revealing more out of place structures hidden by the expanse of nature. Although these intrusive buildings look odd in such a rural setting, it can be argued that the focal point of this piece is the dark area of land in the middle, which appears to be a lake, due to it containing the darkest tone seen in the image and its central placement. Here Hammond also has appeared to apply the rule of thirds when taking the photograph for the natural landscape, as a result of the horizon line being located in the upper third of the image.
From a technical viewpoint, it can be said the natural landscape photograph was taken during the hours of sunrise or sunset due to the golden like sky in the background, and the dark orange tint, which may have been a mixture of natural lighting and digital editing by Hammond. This can also be said for the images needed for the buildings, as the front facing walls seem to be lit with the same golden glow. As a result of using natural lighting at this time, it is likely that Hammond used a medium ISO setting, making sure the photograph isn’t under or over exposed. The shutter speed used here was probably medium to fast, as there is no blur or evidence of movement, however the lens would have to be exposed to enough light to allow for a visible image. Furthermore, Hammond may have used a low aperture setting, meaning that the entirety of the rural landscape would possess the same amount of focus, allowing the viewer to explore the background of the image as much as the foreground.
Hammond created this altered landscape to display ‘the relationship between the industrial history of Barrow-in-Furness and the wider Cumbrian landscape’ in terms of its potential future with nuclear industry. Looking at this, it could be implied that here Hammond was aiming to bring attention to the issue revolving around the political side of the impact of nuclear industry. This may be referring to what could be at risk in the potential future, this being the natural landscapes surrounding this town and their need for defence.
Tanja Deman
Tanja Deman, born in 1982 Split, Croatia, is best known for her altered landscape pieces, which showcase the juxtaposition between nature and urban landscapes. These works are created through various mediums by Deman, such as photography, film, collage and public art installations. With these she aims to produce pieces that display the ‘dynamics hidden under the surface of both built and natural environment’. After graduating the Academy of Fine Arts in Zagreb, Croatia in 2006, Deman has found success and since gone on to exhibit her work, in various forms, in places such as the USA, Germany, the Netherlands, Italy, the UK and many more.
Tanja Deman Images
Analysis
Tanja Deman – Landscape, Fernweh – 2010
This black and white altered landscape created by Tanja Deman, displays a geometric urban structure surrounded by what appears to be a dry, desert like natural landscape. This dark, imposing building located in the centre of the image, causes a strong contrasts with the natural landscape, not just as it is the only man made structure visible, but also due to the fact it juxtaposes with the light tones of the encompassing hills and ridges. In addition, it can also be said that this contrast between light and dark is increased by Deman’s choice to produce this piece in black and white. It can be argued that this building is the image’s focal point, due to the central placement of the structure within the frame. Furthermore, the leading lines, which are created by peaks and ridges of the hills and mountains, guide the viewer’s eye across the image towards the focal point. It also seems that Deman has framed the photograph of the natural landscape, in order to create an enclosed piece of flat land in the centre, bordered by hills and mountains, in which the conflicting structure can be placed.
To look at this image technically, it can be said that to take the photographs required to produce this piece Deman most likely only used natural lighting at a time soon after midday. This can be seen through the harsh and angled shadows on the hillsides, and the dramatic clouds in the sky limiting the amount of sunlight. As a result of this, the ISO was presumably on a low to medium setting, allowing for the photographs to not be over exposed . Moreover, this also means that the shutter speed was probably on a fast setting, due to the large amounts of light flooding the lens and the lack of motion or blur visible in the piece. It appears tha Deman may have also used a low aperture here, as this broad landscape contains an even range of focus, meaning the viewer can see both the foreground and background clearly.
Taken from the project named ‘Fernweh’, Deman’s intention for this image, and the others in this series, was to showcase a visual representation of man’s incessant need to conquer and urbanise natural landscapes such as this, imposing its rational order on the land. This also explores what the consequences of these actions may lead to or have lead to, which is a constant desire for escapism within nature. With this, it could be implied that the Anthropocene era has been nature’s downfall, leading to the small areas it has been reduced to, becoming a place to escape our own creations.
Comparison
Whilst both pieces share the same outlook on the anthropic impact on nature and how it is becoming more and more scarce in modern day society, the two images differ and correspond in some areas from a visual standpoint.
Colour: The two altered landscapes differ in this area, as whilst Hammond’s piece is heavily saturated, Deman’s piece is black and white.
Lighting: In both images it is clear that natural lighting was used in order to capture the photographs needed to produce each piece, due to expansive settings of the landscapes.
Tone: It can be argued that Deman’s image presents an intense contrast between light and dark, whereas Hammond’s displays a more gentle tonal range due to its saturated, orange tint.
Line and Shape: The two landscapes coincide in the way that the leading lines created by the peaks and ridges of hills or mountains, however they differ when it comes to the shapes these lines create. This is as in Deman’s piece these lines are harsh, jagged and almost geometric in shape, whilst Hammond’s are more curved and gentle.
Composition: These two altered landscapes are dissimilar when it comes to the composition of the image, as Hammond has incorporated various incongruous structures throughout her natural landscape, located in both the foreground and background, unlike Deman who has focused on one singular building and framed it in the centre of the image.
Conceptual realism is the theory that abstract universals, unobservable general classes or ideal types have a reality that is independent, equal and sometimes superior to the reality of their individual parts or specific examples.
These images display the “abstract universals” to an extreme extent, almost what someone is imaging or a weird dream.
The first one shows how it can be almost realistic, and this is the style which I will base my main piece on, as well as Dillon Saw and Sebnem Coskun.
HOW IM GOING TO ACHIEVE THIS?
I my case, I am going to create a piece which visualises conceptual realism on the topic of plastic pollution. I will create a crazy concept promoting the negativity of plastic pollution, all whilst staying in the boundaries of when someone sees my work, they ask themselves, “Is that a photo?” and “Is this real?”
I feel like the images highlighted in red are my least successful images as the contrast in tone and texture aren’t as prominent and I just think overall these images are not as interesting to look at.
In my opinion, the photographs highlighted in green are more successful images as the contrasting tones are more enhanced within these images, and there is also a strong juxtaposition in texture. I feel like these images overall are better recreations of Naomi White’s work compared to my other images.
To edit these images I will further enhance the vibrant, contrasting colours to create an intense juxtaposition between colours.
Camera and light settings
To achieve these results in my photoshoot, I used bright studio lighting to create harsh shadows and highlights within the photographs. I also covered the lights with a layer of coloured acetate which reflected the colour off the plastic in order to project the juxtaposing colours and create a clear contrast.
I kept the camera on it’s manual setting and adjusted the shutter speed to a faster speed of 1/1000, the aperture as f/32 and an ISO of 50 as I wanted the image to be still-life and I didn’t want to capture any blurry movements.
The word Anthropocene is largely used in science and was a word given to our current geological epoch, being the stage in the geological time scale where humans are having the greatest effect on the earth in an environmental and climate viewpoint.
This word was adapted by a group of photographers who began to take initiative into creating a visual perspective for how humans effect the earth.
Anthropocene focuses on concepts such as pollution, recourse mining, urbanisation, deforestation, climate change and so on, all as a result of human activity.
Sebnem Coskun is an underwater photographic fine artist, who has recently won the first prize in Nature and Environment category and the finalist award in the Photographer of the Year. As for the category in which she won the award, it is the Asia category.
Coskun won the prize in Nature and Environment category with her image. In her image, she took a diver surrounded by COVID-19 waste in the Mediterranean Sea. So, she took this photo of a Turkish diver last year in the Bosporus Strait (similar to a river).
The goal for Coskun as a photojournalist was to raise awareness about plastic pollution in the seas.
This was the award winning photo :
She has taken many other photos which visualise the plastic pollution in our seas.
SOME OF HER OTHER PHOTOS
ANALYSE
Coskun took this photo in Istanbul, Turkey. She quoted the UNDP’s World Free Diving Record-man Sahika Ercumen, who said, “I’ve been swimming between plastic more than fish in recent years in the Istanbul Strait”
The photo clearly and successfully visualises how much plastic there is in the ocean, by using a underwater dome for the camera. This way you can see under and above the water. This creates a nice contrast between the dark teal of the ocean and the bright white in the clouds.
The composition has been nicely executed, as the underwater part is the main focus it takes up most of the image, compared to the sky. The sky is partially blurred, although this does draw attention to the main focal point the plastic pollution.
There aren’t many vivid colours, except for the pieces of plastic, this helps highlights the main problem, as you notice it first.
Overall, I like the whole concept of the image, as it gives a whole new unique perspective. It successfully highlights Coskun’s main goal, which was to raise awareness about the water pollution as well as plastic pollution.
WHY I CHOSE HER?
Coskun has inspired me to follow her footsteps and create a piece which raises awareness about plastic and water pollution in our ocean. I thought it was a good topic as it is a big part of Jersey’s “lifestyle”, as we are on an island.
HOW IM GOING TO ACHIEVE THIS?
There are many ways to achieve this effect, such as :
Option 1 : I could actually arrange a diver to swim under water and I take photos with a GoPro or underwater camera. I could take plastic props and float/sink them under water (them clean them up after) or, edit them in the Photoshop. However, this is time consuming, could cost money and, the props might not work or the water could be too murky. So this may not be the best way.
Option 2 : I could simulate being underwater, for example, going to a studio, fill the room with a fog/smoke then make the studio light blue, to create the illusion of being underwater. Then hang the props from the ceiling with invisible fish line. Although, they would like they are hovering instead of floating. Also, it would not look identical to the ocean, but its is more creative.
Option 3 : Finally, I could create an almost 100% realistic image in Adobe Photoshop, I would take photos of coastal/beach features, such as, rocks, the sea, buoys, and boats. Edit them, and create an environment to put the images of plastic/rubbish into. Overall, I think this idea is the best, as I have experience at using Adobe Photoshop, and would be relatively easy to get images for.
EXPANSION ON OPTION 3 (FINAL IDEA)
For my final piece, I plan to have a half underwater/ half above water like Coskun’s image I analysed, the under water part would have lots of plastic bottles, fishing equipment (crab nets) and, other rubbish in, and maybe a boat in the centre of the image, as it would help the viewer work out the perspective of the image.
I would use the photos of plastic bottles, nets and other rubbish that I got from my photoshoots. Then, I would add them into the water, after I have made the landscape and sea.
For the underwater shot I would use an old photograph a fish tank/aquarium to get a clearer vision underwater (checked if I was allowed to use it first with Mr Cole), and the above water shot I would go to the beach. And finally put it all together in Photoshop.
Greek photographer, George Marazakis (born in 1976 Creta Island Greece), takes Anthropocene as both concept and title for a series that looks at a new epoch engendered by the greed of mankind. He studied mechanical engineering and works for the Greek Ministry of Justice. In his series ‘A Cure for Anthropocene’ he says that an external observer could describe Anthropocene as an autoimmune disease attacking its own body. However, what it would consider as a disease is our very existence and the cure, the ecological movement, does not aim at the salvation of the planet but at the salvation of human existence on the planet. Humanity’s impact on the Earths geology is so crucial that the 11,650 years old Holocene, the current Geological epoch, is proposed to be replaced by a new one called Anthropocene, from the Greek word ‘anthropos’ for human.
Image Analysis
This image has been taken in natural lighting from what looks to be a slightly raised view that is far away. The image is somewhat dull as the grass is a pale green even where the sun is shining on it and the rest of the background is only filled with white and grey tones. I think this image shows Anthropocene well as it clearly shows a natural landscape of a cliff, however it has a man made math all the way down it as though it has been cut and scarred the landscape. This image is a perfect example of a small portion of humans impact on the Earth as most cliffs now have paths that have been purposely made or have paths that have been made by humans walking the same way constantly and the grass wearing away over time. I believe with Jerseys huge range of cliff path walks I can take images inspired by George Marazakis.
WHO IS DILLON SAW? – (1st Artist/Photographer. Altered Landscapes)
Dillon started taking photos to capture beautiful sunsets in full detail that his phone couldn’t. After, he shot mostly landscapes and city-scapes, although he also enjoys portraiture. However he creates unique pieces in Adobe Photoshop by manipulating photos.
This is his Website where he showcases his work and information.
WHY I CHOSE DILLON SAW?
The main reason I chose him was to incorporate his way of work into my work and final piece, with the photo manipulation.
Although, Dillon Saw also focuses on natural landscapes and views, such as waterfalls and space and photos of galaxy’s.
I plan to make a main piece focusing on water/plastic pollution pollution inspired by Sebnem Coskun, but in the style of Saw’s work.
After, I make the water/plastic pollution piece, and still have time, I will create a piece in Saw’s style. I plan to take photos of the stars, galaxy and the Moon, as well as landscapes to create a final altered landscape in Adobe Photoshop, inspired by Dillon Saw, as a secondary piece.
IMAGE ANALYSE
I chose to analyse this image as it displays the fantasy and surrealism aspect that I’m looking to incorporate into my work.
Firstly, this image was created in Photoshop, I estimate the amount of images used in this image to be 5-7. Starting with the hills (maybe the hills in the foreground +1), possibly the tree, the birds, the sky, the Moon, and the stars.
Saw has positioned the two main elements along the vertical centre line, the tree and the Moon. This creates a focus on mainly the moon as the sky takes up most of the image. It being on the centre line allows the moon the take up a larger space in the image, which shows that Saw has thought about composition. This creates a theme and mood, which is a space/galactic, that can come across as calming.
Keeping the calming aspect, the dominant colours being blue and purple is its own dynamic in itself. The colour purple is often associated with power, mystery, and grandeur which links back to space and the never-ending universe. The colour blue represents faith, confidence, and loyalty, which has ties to the planet that we live on, that we see everyday, and are familiar with. The combination of blue and purple creates a sunset/evening scene that shows the transition to night fall that exposes the view into space.
The moon having pointed ends and being brighter then its surroundings, it draws attention to itself and separates it form the calming environment, which is full of natural lines, therefore it contrasts with the prefect curves of the moon. Making the moon the main focus. This creates an uneasy feeling as space is the main focus. The fact that it is in a surreal/man-made, created environment can cause people the think how much of space is unknown, and how we will never know 100% what is out there.
