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Personal Investigation – Photoshoot 3/4 Josef Sudek

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Initial aims for shoot:

My initial aims for this Josef Sudek inspired photoshoot were to combine the technique I discovered while on my ‘Photoshoot 2 – Pictorialism’ , creating a dream-like bur, with Sudek’s iconic display of flowers in clear vases being captured on window sills. I wanted to combine these ideas to create a whimsical depiction of nature, however showing how it can adapt to its surroundings – as if these flowers are symbols of hope. I planned on capturing my shoot using the windows inside my home, however I found it difficult to replicate Sudek’s compositions due to my windows not having such a large space underneath for the flowers to sit. Therefore, I had the plan to use my grandparents home to capture my images, a place still close to my heart that held meanings in location as well as subject. I aimed to conduct my shoot during the afternoon as I wanted there to be enough light to illuminate the subject, but not too much so that it became a silhouette. I planned on using the downstairs bedroom window which looks out onto the garden as I knew there were netting curtains that I could experiment with across the windows, I wanted to see whether this background still allowed for the observer to ‘look through’ the image. I had the idea to use an array of either singular flowers or bunches of flowers in the vase, I wanted to use a selection of types of flowers, and also a set of flowers that were more wilted to compare the effects and atmospheres they created.

Initial Shoot Experiments

This first shoot was conducted at my grandparents house, using their curtains to create a set of images with an abstract background. I wanted to mirror Sudek’s use of the rain which lined his windows/background but to experiment with a different pattern to see whether this created a similar mood. The lighting of the room was very cold on my shoot day, the sun was behind clouds which actually made it easier to capture the flowers without risk of them becoming silhouettes, however this also meant the warm pink tones that I had captured in my Photoshoot 1 and Photoshoot 2 were not replicated. I knew that I would have to heavily edit the tones and hues of these photographs in order to mirror my fantasy/dream-like theme, nevertheless I captured several images with strong compositions that I knew could be of use when creating my final selection.

Second Shoot Experiments

I decided there was a need to do a sub-shoot using the same theme and ideas, however this time using a different location where I could better reflect Sudek’s work. I discussed my idea of shooting in front of a panelled window with my friends and was lucky enough to be able to use one of their bedroom windows to conduct my shoot, it was a subtle reflection of Sudek’s location and gave me the opportunity to experiment with compositions lined up with the window panels. I began my shoot without steaming up my camera lens for a few images so when editing I could experiment with how I could manipulate the image to seem blurred in a Pictorialism style, without manually doing it on the day. I then used my technique of creating a fog over the lens with my breath to take the rest of the images, nevertheless there was still a blue hue that washed over my photos. I also wanted to replicate Sudek’s capturing of rain in the background of his images, however on the day of this photoshoot there was no rain forecast, so I came up with the idea of pouring a glass of water over the outside of the glass to look like raindrops rolling down the window. This idea was very successful and allowed me to experiment with aperture to focus on either the flower or the raindrops – I wanted to create a set of images that were delicate and soft, breaking up the fantasy world from previous shoots with hints of reality breaking down.

Juxtaposition Shoot Experiment

After going through my images from each photoshoot, I realized there were not enough nightmare style images to disrupt my photobook design, I wanted to have a book full of juxtapositions and disjointed hues of blue and peach that contrasted each other, conveying a sense of anxiety creeping in. Therefore, I decided on conducting a 4th photoshoot based on the idea of ‘nightmares’, bringing in the idea of Alice in Wonderland by photographing mirrors and clocks that could be placed next to images of foggy streams to link to the theme of escapism. I undertook this photoshoot around my home, capturing old photographs of my younger self/of family members using the blurry method, as well as capturing sharp images of them to contrast which looked better next to my other shoots. I wanted to focus some images on the idea of reflections, using a small mirror in my bedroom to act as symbol for clearing the mind, starting by capturing it fogged up and then capturing it from the same position once the mist disappeared. I used this photoshoot as an opportunity for experimentation, I knew that I would only choose a small selection of images to be presented in my final collection, however I still wanted to see how many ways I would portray the idea of ‘a nightmare’.

Editing

For the first flower experimental shoot I knew there would need to be a lot of manipulation in Lightroom to make the images fit my whimsical theme. I used this as an opportunity to use the different features of Lightroom that I had previously not used as much, such as turning down the clarity of the image and dehazing it to create an over-exposed style. I then saw how turning up the temperature and tint of the image would give it the same peach/pink filter that washed over my other shoots, creating this fantasy display similar to an old blurred photograph. After exploring how turning up or down the contrast/exposure/highlights of the image affected its atmosphere, I found the perfect balance of editing which created my final image. For the second flower shoot, there was still a blue hue that washed over the images due to the artificial indoor lighting being cold, therefore during the editing process I had to, again, turn up the temperature and tint of my images to fit my theme. Even though I had steamed up my lens for most of this shoot, I still used the dehaze and clarity feature to create more of a dreamlike blur over the photos, I believe this successfully replicated Sudek’s work while also bringing in my own personal fantasy style. The nightmare shoot images were mostly cold and lacked in vibrancy, however when editing the two images of my mirror I wanted to experiment with how increasing the blue hue created a mystical and dark atmosphere. All of my images have a fantasy theme, may it be soft positive dreams of childhood or mysterious dark memories rooted in anxiety – this shoot let me edit in an abstract style to separate my subjects from reality. I increased the contrast of this shoot to create sharp edges underneath the blur as there was a lot of shadows and darker tones that I could draw focus to – the circular composition of my mirror image is inviting and unsettling, which were the main ideas I wanted to convey during this shoot.

Final Sudek Inspired Images

Final Juxtaposition Images

Comparison to Sudek:

Josef Sudek | The Window of my Studio 1941-1954 | Comparison
  • Josef Sudek | La Dernière Rose (1959) | Artsy
Josef Sudek | The Window of my Studio 1941-1954 | Comparison

Sudek’s images are dark, they have a sense of mystery to them, and a sense of loss. Nevertheless, when I look at Sudek’s work, though there is loss, there is also hope – flowers are symbolic of life, it is as if Sudek (even in his confinement to his studio) is telling his observer there is still life wroth living – possibly he is trying to convince himself of this fact also. Comparing my work to Sudek’s, there is a clear link in subject and location – I have tried to replicate his surroundings as best I could with the weather circumstances etc – yet there is a contrast in atmosphere. My images are soft focused and bright, there is a content and calming mood within them as if the over-exposed highlights are beams of sunlight bringing joy and hope. Contrastingly, Sudek’s images are cold and dark – even without saturation it is clear that there is a gloomy atmosphere surrounding his subjects – hinting towards his own isolation. I wanted to create this difference to convey a sense of optimism, even though Sudek may be documenting a difficult time in his life there is still faith in nature and finding a way to adapt – this faith and hope is what I wanted to draw the most focus to in my images, they still give an impression of isolation, however this loneliness is surrounded by warmth and brightness as if its optimism for the future. Additionally, Sudek’s use of soft focus is replicated in my work, yet I have taken it to the extreme using my Pictorialism inspired technique – there is an impression of reality breaking down in both mine and Sudek’s work, with abstract shapes in the background creating an eerie atmosphere. Overall, I am really happy with how my Josef Sudek inspired photoshoot turned out, I have been able to experiment with different editing techniques and compositions, having to explore different ways of conveying a theme of anxiety, escapism and safety.

Independent, Reading, Task

Personal Study – Contextual Studies

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Jeff Wall

ICP Talks: Jeff Wall | International Center of Photography

Jeff Wall is best known for constructing and photographing elaborate mise-en-scènes, which he displays in wall-mounted light boxes as large-scale colour images. He takes his cues from the neorealism of Italian cinema, working with nonprofessional actors to stage scenes of everyday life. The above is Jeff Wall’s image titled, ‘Passer-by’ (1996). It is a street photography image where Jeff has captured a naturally occurring event. An event that he has encountered almost by accident that portrays a scene and can be interpreted beyond the frame by using intuition. This encapsulates one of Wall’s strong views of what makes an intriguing and meaningful image.

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Quote from David Company’s So Present, so invisible

The image is of a sidewalk in what seems like an urban American suburb. Framed in the centre of the image is a tree, and on either side of the tree we see two men. The man in the foreground is wearing denim jeans and a denim jacket, we cannot see his face as he is looking over his shoulder at the other man while continuing to walk. The other man in the background is running towards a stop sign in the distance in the opposite to the man in the foreground. Overall the image has an overwhelming feeling with a low exposure and abundance of shadows the image has a sober emotion throughout. The image has a wide tonal range with the man in the foreground being well lit, along with an illuminated white wall which possesses the images highlights. In the background where the man is running is very dark and underexposed giving the images its pure black’s and therefore this wide tonal range. This tonal range connotes a sense of innocence for the well exposed man in the foreground who can be seen looking over his shoulder into what can seem like a world of darkness he is leaving behind. The man in the background is presented as a more corrupt character in the scene as he can be seen to run towards the theoretical ‘ dark side’. This lighting looks as if it has been achieved using an artificial source of lighting during the night time to achieve the vast contrast between the foreground and background. The lighting casts long shadows from the subjects and the tree in the centre of the image. These shadows aid in making the image significantly more dramatic as it adds more to the dark, ominous aesthetic while introducing a sense of depth. These shadows also connote to the theme of innocence and corruption, almost insinuating the man in the foreground is leaving his dark side behind him. The lighting also adds a shiny highlight to the leaves of the tree in the middle of the image. This gives it a glistening texture adding to the innocence of the foreground, while the background remains without light and therefore keeps a grainy texture adding to the theme of corruption. I think this method of casting shadows shouldn’t be overlooked as it can being a lot more meaning to how photography is interpreted. The development of modern photography has preached a certain aesthetic to be correct, I think Jeff’s work challenges this. Having these drooping shadows can be undesirable by the modern photographer seeking to achieve this ‘correct’ aesthetic with a lot of photographers using fill-lighting to cancel out shadows in the background. Jeff challenged this view and believe in a balance between aesthetics and narrative. He used the shadows to add to the narrative of this image.

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Quote from David Company’s So Present, so invisible
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Quote from David Company’s So Present, so invisible

Jeff used a narrow aperture to achieve the depth of field in the image and get everything in focus which allows him to tell relay the narrative of innocence and corruption between the foreground and background. Shooting with a closed aperture also aids in underexposing the image and making it appear darker. The way the image is framed where the tree separates the two men and the man who represents corruption is hiding behind the tree almost representing hiding from his true identity.

The above gives further insight into Jeff Wall’s perspective of photography and the importance to investigate pictorialism and how imagery can create art. He talks about how photography is like poetry where all elements of a photos narrative and aesthetic qualities evoke emotion and relay purpose like a poem does. This aligns with the above Quotes from David Company’s So Present, so invisible where Jeff discusses the relationship between the vernacular and the pictorial and how there is no one way to create art. I believe that the strongest pictorial images originate from a documentation of accidental circumstances that outline a subject. I believe art can be interpreted in all images that relay a narrative and also the importance of imagery in accurately documenting in a artistic fashion. I therefore wholly agree with Jeff’s view on photography.

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Contextual studies – Stephen Shore

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I started off by selecting 3 Stephen Shore quotes that I think I could include in my image analyse of one of Stephen Shores images. The first quote I found online, and the other two were from an interview that was on a PowerPoint resource.

1.

“I don’t have to have a single point of emphasis in the picture. It can be complex, because it’s so detailed that the viewer can take time and read it, and look at something here, and look at something there, and they can pay attention to a lot more.”

2.

But even in that strange world, you were definitely making “Stephen Shore” pictures: intersections, shop fronts.

That’s true. Most of the pictures do have little indications that it’s a movie set. A contemporary car in the background or some scaffolding. But even the decision to shoot in colour meant that I was making photographs that couldn’t have been made in the period setting of the movie, It’s an anachronism. There are streets in New York that still look like those streets, but the décor and dressing are anachronistic, too. It was great fun.

3.

Can you describe what you had been doing?

In making Uncommon Places, I was walking down the street and watching all the relationships changing watching objects in the foreground change in relation to the background, thinking about how space is going to be seen in monocular vision on a picture plane. What happened for me was that, right away and throughout the work, structural issues and questions came to my mind. I had to solve those questions, and in the process of solving them other questions would arise. But it wasn’t as it I was sitting around thinking about them.

Analysis

Stephen Shore’s ‘Uncommon Places’ (book) finds the beauty in the most mundane. His sprawling vision of America has become a contemporary classic, a landmark of visual Americana, influencing a generation of photographers to take to the highway.

Stephen Shore: Uncommon Places | The Independent Photographer

This photo demonstrates how Shore finds interesting and unusual places by walking around, this is his usual method he uses to find places to photograph, as he was asked in an interview, “Can you describe what you had been doing?”, and Shore replied with “I was walking down the street and watching all the relationships changing watching objects in the foreground change in relation to the background, thinking about how space is going to be seen in monocular vision on a picture plane.” This shows how Shore think about how the image will look through the view finder before setting his camera equipment up. Photo walks are very important for photographers, as they’re not only perfect for meeting other camera enthusiasts, but also for honing your skills as a photographer, learning new ideas, and experiencing different places through your camera’s viewfinder.

Walking around and exploring allows Shore to capture images of shop fronts and intersections, which have been named the, “Stephen Shore” image. the interviewer asked Shore how he creates the classic image, that comes out so perfect. Shore states, “Most of the pictures do have little indications that it’s a movie set. A contemporary car in the background or some scaffolding. But even the decision to shoot in colour meant that I was making photographs that couldn’t have been made in the period setting of the movie, It’s an anachronism.” This shows how Shore uses anachronism to his advantage. Anachronism is a chronological inconsistency in some arrangement, especially a juxtaposition of people, events, and objects from different time periods. For example in this image the colourful cars are lined up perfectly in front of the old, squatting, lit-up movie theatre in the background. This creates a juxtaposition between the colourful cars and the bright movie theatre in contrast to the dull, brown factory looking buildings, which creates a focus on the centre of the image drawing the eye to the theatre, and the people outside which gives life to the image.

The camera position in this photo is across the road from the subject, which is the theatre. This shows how Shore photographs a scene that he finds on his walks. However, Shore has thought about the composition in this image, as Shore uses depth of field to his advantage as the cars in the foreground are blurred which focuses the eye on the main focal point. Shore once said, “I don’t have to have a single point of emphasis in the picture. It can be complex, because it’s so detailed that the viewer can take time and read it, and look at something here, and look at something there, and they can pay attention to a lot more.” This image is a good example of how Shore creates the composition of an image. However, there is a main emphasis point, which is the theatre, and it is surrounded by several sub focus points, which is the cars. The surrounding buildings and lamp posts on the street, and more detail to describe the atmosphere of the scene. The choice of shooting in the early evening makes the darker buildings less noticeable, which creates a contrast with the light, white theatre building. The light blue sky is a similar colour to the blue accents on the theatre, which creates a balance in colours between dark red, light blue and white. These colours are also the same colour palette as the American flag, this is important as Shore is an American photographer and perhaps he wanted to represent himself and glorify the American lifestyle.

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Community NFT – Photoshoot

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Our Photoshoot

As planned in my Storyboard Blog Post, on October 14th my group went to shoot on location at Carmen’s grandmother’s house. We aimed to create images inspired by Lissa Rivera and Cindy Sherman, keeping our Clare Rae inspired shots for our video footage. Each member of our group took images on their own cameras for this shoot, however the final edits are comprised of my shots which we all worked hard on creating unique compositions and lighting for. I focused on photographing in areas of warm lighting, with side lamps, ring lights and natural sunlight as our source; I wanted to create an atmosphere of confidence and playfulness in these images. Each member of our group walked around the house to find rooms and areas where interesting images could be taken, we tried to focus on finding patterned wallpaper, similar to Rivera’s work, as well as rooms with mirrors, fireplaces and symmetrical backgrounds that could create dynamic changes. During our photoshoot we experimented with how using flash would disrupt or help the lighting of an image, for some it helped massively by providing natural highlights on our models face as well as illuminating the background – however, in rooms with an abundance of natural lighting the flash created highly over exposed images that did not reflect the warm tones as we had hoped. I really enjoyed experimenting with the White Balance, Shutter Speed and ISO of my camera to see how changing the setting slightly could effect an image so greatly.

Flagged Unedited Images;

In Adobe Lightroom I imported all 324 of our photoshoot images and used to ‘flagging’ tool to select which ones were the most successful. When choosing these I looked for photographs with interesting compositions, sometimes I found asymmetrical images a lot more intriguing as they showed freedom and fun, qualities of our fully empowered modern woman that, in some images, we wanted to portray. After flagging our favourite images (screenshots seen above), I went through them again giving them a 1 to 5 star rating. Any images with 5 stars I then went on to edit and refine, touching up exposure and brightness mostly, to link more to Rivera’s work and convey a sense of empowerment. When editing, I wanted to keep the warm undertones that I captured in the raw shoot as I believe they helped represent the comforting atmosphere of a woman in her own home, feeling confident and safe within herself.

Best Images – Edited;

Our images show understanding of stereotyping, taking inspiration from Cindy Sherman’s work by photographing our model in a stereotypically feminine outfit, stood/sat in exaggerated poses to create an ironic display of the female gender. We wanted to use these ideologies surrounding women to form a basis for our shoot, using irony to suggest our model feels proud of her femininity as she uses it for her own empowerment, not for the pleasure of others. Locations for these images around the house include bedrooms, offices and lounges – each holding a different stereotype being squashed by our models confidence and satirical representation of how women were (and still are) seen in society.

Image Analysis

I have chosen to analyse this image from my feminism photoshoot as it shows a clear link to all three artists I have studied with use of the formal elements and thematic composition. The first element of this image that I really enjoy is the warm lighting that creates an orange hue throughout, conveying a sense of comfort and security. The dominant colour of orange, as well as creating warmth, also helps the observer understand the subject better as the bright colour connotes ideas of confidence and happiness, things our ’empowered new-age woman’ feels in a free, equal society. The dark lighting that covered this location helped us form an image with depth and meaning from the colours that the natural sunlight, coming through a window out of frame on the right, created. This lighting also illuminated the space around our main subject, as if she were emerging from a place of purity and serenity, symbolic of a heavenly light that surrounds her while she admires herself. The range of tones in this image is quite unbalanced, with the focal point at the brightest point in the centre being surrounded by a much larger border of dark shadow. This creates an atmosphere of mystery and secrecy, linking to Clare Rae’s secretive images were she hides parts of her body so they cannot be exploited for the male gaze. The use of repetition in this piece is seen from the mirrors reflections around the edges, creating distorted versions of our models features eg. arms, hands etc, further linking to our studied artists ironic portrayal of the female gender. The reflections create some rhythm in the image, relating to the idea of flowing water around her; connoting ideas of freedom and fluidity. The overall composition of the piece adds an interesting take on the theme also, we cannot actually see the model’s physical body in the image, only a reflection of her standing out of frame. This raises the question, is she really there? Or is this maybe a ghost from the past looking in on a changed world, possibly an echo from future generations looking back on what women have accomplished – the ambiguity is for the observer to imagine.

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Identity and Community – Artist References

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Percival Dunham

Overview –

Percival Dunham worked for Jersey Illustrated Weekly and The Morning News for a brief period in 1913 and 1914 – he is known as Jersey’s very first photojournalist. Dunham had been in business as a photographer at 57 Bath Street since 1911, and had already been taking photographs of the Jersey Battle of Flowers and events such as the grounding of the Roebuck in St Brelade’s Bay in 1911. Dunham found great success while with the Illustrated Weekly and Morning News, as they were the pioneers of photojournalism, allowing Dunham to capture candid shots of the streets of Jersey in a new and upcoming style of photography. Percival Dunham presents a remarkable picture of life in Jersey before and just after the outbreak of World War One which, although it had nowhere near as dramatic impact on the island as the second global conflict which would follow 25 years later, nevertheless marked the end of an era in Jersey. More of Dunham’s images can be found here (search Dunham under ‘photographers’). His work was ahead of its time, as the term ‘photojournalist’ hadn’t even been coined yet – the images he captured relate to the modern term ‘street photography’ and show the public living their everyday lives, uninterrupted or disturbed by the camera, demonstrating sincerity in each scene.

Moodboard Of Images

George Georgiou

Overview –

George Georgiou (1961 -) is a British photographer and Photo Journalist who studied photography at The University of Westminster. After working for six years in Serbia, Greece and eastern Europe, he was recently based for four years in Istanbul. His work in Turkey led to a series of photographs titled ‘Fault Lines/Turkey/East/West’, which has led to several exhibitions and a book. Georgiou has also taught photography at Barnet College in London and a number of workshops in Europe. Georgiou’s work mostly focuses on communities of people that are split up between different cultures. An article on Georgiou’s career wrote ‘Arriving somewhere new, Georgiou’s approach is first to unburden himself of pre-existing images of the place and to try to see through superficial differences with places he knows; he then looks for commonalities and actual differences. He starts by himself and only when well underway hopes to attract commissions and make sales.’

Last Stop –

‘Last Stop’ is a series of images shot through the windows of London’s double decker buses, published as a double sided concertina book by George Georgiou in 2015. Georgiou wrote ‘The essence of Last Stop is that you might take the same route everyday but what you see, the ebb and flow on the street takes on a random nature, like a series of fleeting mini soap operas. The concertina book format reflects and mimics the flow of a bus journey, but more importantly it gives the viewer the opportunity to create their own journeys by spreading the book out and combining different images together. This moves the book away from an author-led linear narrative to one of multiple possibilities.’ Georgiou would ‘take random buses and get lost across the city’ in hopes of capturing street photography images and candid portraits from the windows of people living their everyday lives, allowing the observer to make up their story and scenario. In a video on the creation of ‘Last Stop’, Georgiou said ‘as a photographer I wanted the challenge of not having full control, taking whatever free seat there was next to the window only being able to photograph what was in reach of my static position in front of me’. I really love how he can still capture these moments without truly being involved in them, only seeing them at a glance, but portraying an entirety of different stories. When researching for my street photography photoshoot on ‘identity and community’ I wanted to take inspiration from Georgiou’s presentation of images, capturing ambiguity and mystery along with familiarity and warmth. Several of ‘Last Stop’s’ images were featured in the book Unseen London, more info can be found here.

Moodboard Of Images

Analysis – Dunham

Percival Dunham | Soldiers at Town Arsenal | 1914

I made the decision to analyse this image by Percival Dunham due to it’s wide range of techniques used from ‘The Formal Elements’, yet also its ability to foreshadow and story tell. The black and white filter on the photograph shows the time period it was taken, pre-World War 1 when Dunham’s images first caught the public’s eye. From this era, we can make an assumption to which camera was used at the time; possibly the Moy & Bastie cine camera, made of wood and metal, which was the type used by British Official cinematographers working with the armed forces during the First World War. The geometric shapes on the wall behind the soldiers show defined and consistent rectangles, possibly reflecting the systematic job and duties that these men carry out. The repetition of these symmetrical shapes could link to the soldiers having to repeat the same tasks daily on the battlefield, symbolizing the methodical planning and strictness of their life. Additionally, the uniformity of straight lines created by these rectangles relates to the respect a soldier gains from his uniform.

Dunham had the ability to capture such raw moments in time, parts of history that would otherwise be imagined instead of seen. During an exhibition on Dunham’s photography at The Jersey Arts Centre in 2014 Gareth Syvret, from the Societe Jersiase, said “he really had a natural affinity for what is later called ‘the decisive moment’ in all the photographs you see around here, there are figures; he was clearly interested in the social life of the town of St Helier and Jersey and its a really powerful documentary he’s left us.” I really enjoyed this quote from Syvret as I believe it sums up Dunham’s work perfectly, with such monumental history as WWI as his setting and still creating such intimate and warm images is inspiring.

The lighting in this photograph tells such a tragic and true story, with the darkest point of the image in the background through a door behind the men- leading to a sort-of abyss of darkness and mystery. Contrastingly, the lightest point falls on the floor where the soldiers stand, creating the impression of these men starting their journey with peace and security; however lurking in the background is a foreshadowing darkness reflecting the horrors of war to come in their future. Similarly, there is a leading line created from the outline of the canon to the right of the soldiers, drawing the observers focus again to the background of the image. Here we can see a juxtaposition between the consistent pattern of ordered bricks, to the damaged building and rubble to it’s left, further in the distance. This, along with the brooding darkness behind the men, suggests Dunham wanted to capture a composition with more ambiguity and ruin further back into the image to symbolize and foreshadow how much death and destruction this war would bring.

Analysis – Georgiou

George Georgiou | Last Stop | 2015

I chose to analyse this image, taken by George Georgiou in 2015, as I really enjoyed how well it told a story, a story that would be different to anyone else who saw the image. From my perspective, considering the formal elements, the reflection of the woman in the shop window on the right of the image represents how this route she walks is one taken daily – possibly taking her son to school, or going to work; the possibilities are limitless. This reflection is like a reflection of time, showing the repetition and never ending cycle she may endure while on this journey. Additionally, there are several geometric shapes in this Georgiou image, in particular the repetition of rectangles in shop windows, signs and tile flooring. The echo of this rectangular shape throughout the photo could represent uniformity and hint towards a homogeneous society where nothing is different or unique. While this series of Georgiou’s images demonstrates ‘that you might take the same route everyday but what you see, the ebb and flow on the street takes on a random nature, like a series of fleeting mini soap operas’ this one image could show a counterargument to this statement or may indicate that while the people and stories may be ever changing, the locations and surroundings witness all and stay the same. Furthermore, the range of colours in this image are limited and dull, with only brief pops of brightness of bold red, yellow, green and blue. With the only source of bright colour coming from these primary shades it reflects the child-like nature of having daily routines and set ways to live each day, as if teaching a child – Georgiou’s image may represent how each day can hold new possibilities and adventures, and that people are allowing dull ideas to overwhelm their (what should be) adventurous life.

In addition, the repetition of blue from the child’s clothing and rectangular structure on the left of the image could represent the feeling of security, as blue symbolizes trust and safety. Georgiou could be pointing out how society feels safe in their own little bubbles, isolating themselves with their own stories secret to the world around them – the child feels safe in his mother’s company, yet the story could be so different for the mother, it is for the observer to decide. A quote from Georgiou says “surveillance in the city is all around us but on the flip side of this is also our sense of invisibility, how we allow ourselves to express very private behaviour in public space, like a family argument. I see the photography as straddling, street photography, surveillance, landscape and documentary fiction.” In terms of light, the natural lighting shows it was probably mid-day as there are little shadows in the image, also hinting the weather was cloudy as there are no major reflections or highlights created by the sun. Lastly, there are many straight lines in the image, for example the straight thin lines of the shopping baskets on the right of the photo – the metallic shine on these lines is modern and mechanic, possibly portraying the idea of mass industrialization and overconsumption (also linking to this image being photographed outside a food shop). In my opinion, Georgiou capturing this repetition of a mundane, everyday object in quite a stylistic way really sums up what I have taken away from this series of images; that while everyday can be draining, similar and sometimes dull, the smallest things can make differences – life doesn’t have to be ‘an author-led linear narrative’ in the words of George Georgiou, it can ‘move to one of multiple possibilities.’

George Georgiou – Book Presentation

ANTHROPOCENE, Controlled Conditions, Independent

Anthropocene – Final Images

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Final Image Display

Sequence One

Sequence Two

Sequence Three

I have chosen these final images due to their strong link with Anthropocene and their ability to symbolize the growing industrialization of our world. My initial idea was to create a sequence of three images, each showing a different stage of urbanization in a sort-of storyboard style. Each image demonstrates how increasingly unnatural our world is becoming by revealing more of man’s impact on the surroundings. After carrying out photoshoots inspired by Edward Burtynsky and Andrew Moore I made the decision to edit each image with a harsher blue tint each time, so the final Burtynsky inspired image at the end of the sequence was of a cooler temperature, reflecting the landscapes emotionless atmosphere. Furthermore, the increased editing of each image symbolizes how manufactured and artificial the planet is turning out to be from society’s disregard of nature, with each image growing colder and more unnatural. The composition and leading lines in each image draw the observer’s attention along the sequence in a cyclical pattern, as if the story goes on over and over again, just like man-kind is frequently building modern structures and industrial sites which all aid in harming the atmosphere around us. Contextually, several photographs from my Burtynsky shoot (which have been chosen for my final display) document reclaimed land in Jersey. It is a fact that reclaimed land is highly susceptible to soil liquefaction, which can amplify the amount of damage that occurs to buildings and infrastructure – I decided to capture these landscapes to further my point on humans being the main source of global devastation, we are interfering with nature and creating danger for all, even destroying the industrial structures we have built in the process- ironic.

Edward Burtynsky Comparison

I have decided to compare this Edward Burtynsky image to one of my final pieces because of their similarities in composition and their use of the formal elements. Firstly, a clear similarity between them is the capturing of repetition throughout the landscapes, Burtynsky has photographed an area with circular structures reflected in uniform rows. I believe he was attempting to mirror how unvarying our planets architecture, and even societies themselves, are. Repetition is plainly captured in my image in the form of rectangular shapes from buildings, windows and structures – showing the increased artificial landscapes through geometric echoes. I wanted to reflect Burtynsky’s repetitive technique, however slightly differently to demonstrate the way different communities deal with Anthropocene, seeing whether they fight against it or let it take over. Also, the basic and elemental nature of these shapes shows how trivial these modernized areas in the world are. Additionally, another similarity between these photographs is their straight horizon lines which act as an indication for their wide depth of field. The leading line in Burtynsky’s image slowly reveals a disappearing background as the horizon becomes misty and unclear, this could possibly symbolize how man-kind is forgetting, or not choosing to see, their destruction and wrecking of the natural world – as if industrialization is all that can be seen going into the future. In my image there is also a clear straight leading line across the horizon, however in the background there is a hint of hope within the capturing of a natural environment where trees poke through the urbanized surroundings. The comparison between these two uses of leading lines demonstrates how there is still hope for our landscapes future, however if we don’t act now, that hope will disappear. A key difference between these images is the cameras point of view, while there is the similarity of them both being captured from above, Burtynsky’s birds-eye-view shows a greater span of land. Furthermore, due to my editing choice to connote a more derelict and cold atmosphere through turning down my image’s temperature, the colour palette in Burtynsky’s photo is slightly more muted then mine – nevertheless both still produce a sense of sadness, connoting the robotic and artificial mood of the setting.

Andrew Moore Comparison

I chose to compare this image by Andrew Moore to one of my final photographs due to their similarities in texture, composition and differences in colour/temperature. Firstly, one similarity between these images is their busy, rough texture which is created by the repeated leaves and brambles entwined around the greenhouses. In both images this texture connotes ideas of discomfort and restriction, symbolizing how nature is being forced into a corner to try and survive from man-kind’s destruction. Additionally, Moore’s image has a similar composition to my own as both are captured at an eye-level point of view with the main subject taking up the span of the entire frame. The scarceness of negative space in these photographs demonstrates how desperate nature is to withstand industrialization and retaliate against man-kind’s interference. Moreover, this creates a short depth of field as little can be seen beyond the overgrown structures, connoting how little time is left for nature to overcome this destruction. Furthermore, another similarity is the image’s use of shape, both mine and Moore’s photos capture triangular structures which are being consumed by the natural shapes of nature. The juxtaposition between these geometric and organic shapes reveals to the observer how the effects of human interference with the planets natural landscapes is causing nature to use force against what we have created, connoting the theme of man Vs nature. Nevertheless, there are also several differences between my image and Andrew Moore’s, for example they both hold different temperatures. Moore’s photograph has more warm tones of orange and yellow allowing us to guess the time of year is autumn and that the image has been taken later on in the day. The warmth of Moore’s photo could possibly symbolize global warming, showing the danger in industrialization, however the saturation of the tones also demonstrates how nature still finds a way to be beautiful even after all the carnage it’s been through. Contrastingly, my image holds much colder tones to represent the cold-heartedness of society – I wanted to symbolize how man-kind has made these landscapes feel, their atmosphere changed by the impendence of humans.

Review And Reflection

My aims and intentions for this Anthropocene inspired project were to demonstrate how man made structure were increasingly impacting our natural environment. I planned on capturing landscapes around Jersey in three different stages; the first highlighting the beautiful natural areas in fields and woodlands, the second showing areas of Jersey where nature can still be seen however man’s impact is taking effect and the third exhibiting the cluttered industrial landscapes of our island. While working on this project I discovered the relevance of camera point of view in images, I found it important to capture my photographs from specific locations and angles to represent the message of impending industrialization that I wanted to portray. One of the biggest obstacles I overcame during this project was my lack of confidence in my editing process, I found it difficult to portray my idea uniquely through editing and became stuck for ideas. However, I quickly overcame this obstacle by brainstorming and experimenting on Lightroom to discover how temperature effected the atmosphere of my images, I really love how the increase in coldness over each image symbolizes the heartlessness of the destruction of nature and the urbanization of landscapes. I would say my greatest strength during this project was my ability to create a storyline through a sequence of images, I believe I successfully connoted the growing industrialization of our world and used my time wisely to experiment and analyse my final images in comparison to the photographers I took inspiration from.

ANTHROPOCENE, Controlled Conditions, Independent, Reading, Task

Anthropocene Final Display

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A3

I chose the above three images as they link really well with Anthropocene.

The owl sleeping in the barn window fits really well as the natural lighting beaming through the window romanticises the creature and the leaves behind it and the bubble wrap floating in front of its face represents man’s impact on wildlife. The owl is also framed really well in the window.

I chose the other two images because of how they represent ideas of industrialism and how their colour scheme reacts well to George Marazakis’ work.

A4

The above three images relate well with this project. The deralict land rover with the trees growing around it reacts well to Camilo Jose Vergara’s work and it features the idea of nature fighting back against man.

The two other images relate well to George’s work as they feature a vast landscape with subtle clues of man’s ‘disease’ on the natural environment.

A5

I chose the above three images as they all represent Anthropocene well. The second image is framed well and has a lot of leading lines which makes it an impactful image to represent the idea of deforestation.

The graveyard represents the death of humanity and the idea that nature will always flourish with the vibrant leaves enveloping the bleak gravestones.

Framing and Manipulation

I chose to form a triptych out of the images above as they all present the same theme of man’s destruction and all have a similar colour basis of a greyscale juxtaposing with a deep, vibrant green/emerald colour.

ANTHROPOCENE, Controlled Conditions, Independent

Anthropocene – Editing And Experimentation

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Edward Burtynsky Photoshoot

During my editing process for this photoshoot I decided to demonstrate how cold and senseless our world is becoming as a result of mass industrialization – I heightened the whiteness of each image using Adobe Lightroom to reflect Burtynsky’s dystopian and modernized landscapes, symbolizing how human impact may fulfil modern aesthetics, however it also destroys natural habitats. When editing I found it important to keep the cold tones and blue hue across the images in order to suggest how the industrialization of natural landscapes is cold-blooded and eradicates the feeling and warm atmosphere that is produced by unrefined and rural areas of civilization. In Lightroom I turned down the temperature of these images and slightly decreased the vibrancy to further the idea of an unconcerned damaged world. In addition, I wanted to refrain from cropping any of my Edward Burtynsky inspired images as I believe the plain clear skyline in each of the photograph’s backgrounds gives the impression of there being a clear solution to the global problems in this day and age, allowing nature to thrive without destroying it for commercial/industrial purposes – linking with the Anthropocene idea that humans are the single most defining force on the planet as a result of mass industrialization.

Black & White Experimentation

I chose to edit these specific same four photographs in black and white to experiment further with how colour can effect the atmosphere of an image. I edited the photos in Adobe Lightroom by turning down the saturation and vibrancy fully, heightening the contrast slightly to create darker tones. This wide range of light and shade in my images creates a more sombre atmosphere for the observer, the monochrome filter adds drama and creates a vintage feel linking to black and white photographs from the past. I believe this editing choice gives the impression and idea that Jersey’s landscapes hold so many memories for those that have lived here their whole lives, grandparents may have once had a home, or went to school here when the landscape was not industrialized – the black and white nostalgic atmosphere created juxtaposes with that which has been captured; a modern land with age-old memories. Furthermore, I believe that editing these images greyscale has emphasized the sheer amount of repetition within them, for example as the contrast is heightened it draws the observers attention to the darkest areas of the images. As these more shaded areas fall on the windows and doors photographed, it creates a grainier texture due to the high amount of times these subjects are echoed throughout. I think that editing these images with a black and white filter has added a dramatic yet nostalgic effect, juxtaposing with how these Jersey landscapes have been modernized over time. However, the monochrome effect does not provide as much of a cold atmosphere and doesn’t show the observer how man-kind is apathetic towards nature, I believe the cold temperature/coloured editing displays how society views their creations as inventive without seeing the danger behind how mass industrialization effects our planet – when deciding final compositions I will need to consider which editing choice works best.

Andrew Moore Photoshoot

I chose to edit these three images from my Andrew Moore inspired photoshoot to demonstrate how human impact on the natural environment makes its beauty deteriorate, even with nature trying to fight back. During my editing process I made the decision to turn down the saturation and vibrancy of these images in order to reflect the dismal atmosphere that is present in these locations, the muted colours mirror how man-kind’s creations try to silence nature by destroying it. Additionally, I decreased the temperature of the original blue hue that fell across the image’s skylines as I believe they added too much of a bright happy atmosphere which is not what I wanted to portray. I also slightly decreased the exposure to produce a more gloomy and abandoned mood around these photographs to symbolize how these neglected landscapes had been left to ruin. I believe that making the choice to carry out more harsh editing on these images links to the idea of Anthropocene strongly, connoting the idea that man-kind’s ‘editing’ of landscapes is wrecking the unrefined blessing of nature – I plan on setting out my final images in a sequence which shows the growing industrialization of our world, which with this editing choice will be furthered seeing the absence of colour increase as man-kind’s effects take their toll.

Multi-Exposure Experimentation

I decided to experiment by creating two multi-exposure images on Adobe Photoshop by merging four different photographs, two from my Andrew Moore inspired shoot and two from my Edward Burtynsky shoot. In Photoshop, I lowered the opacity of the two Burtynsky inspired images and placed them over the other’s skyline. My idea when creating these multi-exposures was to reflect how the future of our planet may look if mass industrialization continues. In the background, the faint St Helier skyline I have edited on really effects the texture of the images as the repetition of buildings and windows creates a more cluttered and artificial feeling. As the modernized setting continues on and disappears into the background it connotes the idea that Anthropocene will proceed into our world’s future, as a wider depth of field is formed. In terms of shape in these images, the geometric patterns from the modern buildings juxtapose greatly with the organic shapes of the trees captured in the foreground. This gives the impression that mass industrialization will not only destroy the natural landscapes of our planet, but also the way society views themselves; the blocky/structural architecture symbolizes how man-kind are becoming robotic homogeneous beings that have no care for the environment around them. The composition of these images also links to Anthropocene ideas, for example the second multi-exposure edit uses the rule of thirds to show the stages of industrialization without needing a sequence of lined up images. The foreground demonstrates nature untouched by man, the mid-ground hints at man’s slight interference with the environment and the background clearly shows mass industrialization. While this technique has its pros, there are also cons surrounding how the ‘stop urbanization’ message could be understood and possibly lost in translation due to the cramped texture and dull vibrancy throughout, as I wanted to reflect the beauty of nature compared to the banal devastation formed by industrial landscapes.

ANTHROPOCENE, Controlled Conditions, Independent, Reading, Task

Anthropocene Artist Comparison

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Camilo Jose Vergara
George Marazakis

Both images feature a reaction to the Anthropocene. They do this by capturing the essence of mans reckless footprint on the natural environment and man’s greed and carelessness of having to constantly industrialise and destroy the natural environment and then move on swiftly without care. This is seen in these images where the focal point is placed on the derelict structures by framing them in the centre of the composition in a symmetrical fashion.

Both images have similar structural features, they both contain many vertical leading lines created by the structures and the neutral perspective at which they are shot. Both images also contain a deep depth of field with the structures in the foreground and the clouds and various other elements stretching far into the background.

These images differ in their colour schemes as Camilo’s image features a more saturated look with a wider tonal range which creates a deep contrast in the image. The image also contains a wider range of colours whereas George’s image contains a monotone, warmer colour scheme with shallow range of colours. Georges image is also flatter in terms of contrast, it has a narrower tonal range.