Camilo Jose Vergara is a Chilean Photographer based in New York City.
He trained as a sociologist with a specialty in urbanism and this is exactly what his photography emulates. He focuses on ‘rephotography’ in series with urbanisation and the Anthropocene. This means he shot the same buildings over a span of time to document change. This is a method of documenting urbanisation and how man is constantly tweaking the environment around them.
I am most interested in his work where he captures the essence of nature fighting back against urbanisation. He shoots these abandoned, derelict buildings in the fashion of rephotography to document an argument between nature and man. This can be seen through the houses slowly degrading and the earth and plants growing around them. This captures the power of nature and its ambition to flourish juxtaposing to mans greediness and carelessness of leaving ruins to rot in, what was, a beautiful natural climate. Below is an image of the Ransom Gillis House where Camilo has captured this argument and the power of nature.
I believe the way Camilo captures these buildings is an impactful way of looking a Anthropocene. It captures humanities carelessness and the determination of nature in an impactful manner by giving it an aesthetic. The aesthetic being the series of photos where the perspective is exactly them same but there is noticeable change in the environment in every photo. This forces the thought to be made about how quickly our environment changes.
The above image is of the former Camden Library which became abandoned. There are trees growing in the former reading room of the library. Camilo framed these trees in the centre of the image with the library collapsing around them. This creates a stadium around the trees which creates tension and supports the idea of natures determination to grown through humans destruction.
Camilo used natural lighting which is coming through as streaks through the destroyed ceiling. This creates a holy like spotlight on the trees which could imply the idea of the glimpse of hope that nature holds.
The image contains high saturation on the foreground which makes the trees pop with colour but a low saturation and high contrast on the background which creates a gloomy look on the destroyed building, enforcing the juxtaposition between nature and man.
George Marazakis is a Greek photographer who has made a significant contribution to the visual enlightenment related to the Anthropocene with his photographic series, “A Cure for Anthropocene”
His work encapsulates the degradation of the environment in a subtle manner rather than a brash, “in your face” approach. His method does not concentrate on shooting the obvious, mainstream aesthetic themes such as animals entangled in plastics and inept images of geological agony that the media force feed society as a way of sort of ‘guilt-tripping’. Instead George shoots natural landscapes where subtle gestures of man’s ramifications can be seen. He seems to weave the elements of industrialism and climate change into his the landscapes rather than making them the vocal point. I feel this is a far superior way of creating awareness to the issue. It focuses on giving a neutral aesthetic to the Anthropocene. This forces the comparison process of making contrasts between the peaceful natural utopia and the traumatic dystopia that humans are inflicting on the planet. This forces audiences to use their cognition which leads to them caring about the issue more.
Another distinct element to his photography is the warm, hazy, monotone hue his images have. It almost implies the idea of the earth heating up and global warming. It also creates a slight sense of panic almost like a fire has started and orangey smoke is pouring out of his images. It develops an apocalyptic aesthetic for Anthropocene.
This subtle approach of integrating slight man made interruptions into his landscapes came about as George began to think of the Anthropocene as a disease. “While I was photographing the landscapes affected by human interactions in the middle of natural spaces, the topography started looking like a body to me – like something with the early stages of psoriasis on its skin,” he explains. “If humans are a product of nature, then we can say that we are a disease attacking our own organism, just like an immune system can attack its own body – like autoimmune diseases.” His work takes this idea of disease and spins it around to create a sense of hope by reinforcing the idea that diseases can be cured, this is imbedded in the name of his project ‘A CURE for Anthropocene’
The above image features a natural landscape with a juxtaposition of a subtle hint to mans presence in the foreground with the carved out paths almost like scars on the earth.
George uses natural lighting and he creates a narrow image in terms of colour and contrast in the foreground while romanticising the background with higher contrast and tonal depth. This creates an almost boring foreground which insinuates the mundane and banal nature of man’s degradation on the earth while contrasting this with the dramatic powerful nature of the sublime in the background.
The image is also framed very symmetrically with the paths in the foreground forming an ‘X’ which creates a satisfying aesthetic.
Andrew Moore’s work depicting the effects of time on natural and built landscapes has greatly inspired me while researching for this Anthropocene project. I really enjoy the way Moore captures his images from a different perspective to Burtynsky and how he demonstrates the way nature is trying its best to overcome the effects the human race is having on the environment. I wish to reflect this element of Moore’s work through landscape photography of overgrown scenes while also capturing images showing areas of nature by the side of industrial buildings. I believe this will further the Anthropocene idea on society’s impact on the world by showing the impending modernization creeping into each photograph. Additionally, Moore’s use of saturated colours and natural lighting allows the observer to understand the subject better, for example letting them acknowledge how nature; when left alone and undisturbed by humans, has the ability to form beautiful natural landscapes and areas that are not overwhelmed by industrialized structures.
Photoshoot Plan
What – I plan on capturing images of landscapes which have been impacted by humans with buildings, greenhouses, ruins and industrial sites – however with nature still trying to make an appearance, fighting back against the urbanisation. I wish to capture elements of the natural environment juxtaposed with modern structures to represent the imminent world industrialisation.
Where – I aim to produce this photoshoot around many locations on the island; the first, where I wish to photograph the difference between nature and industrial structures, is at Le Quesne Barracks, Mount Bingham in St. Helier. I also plan on walking down to the beach at Halve Des Pas to capture the natural landscape with tall structures from La Collette in the background.
When – My plan is to conduct this photoshoot on Friday 21st of May due to the forecasted sunny weather, as I am taking my images inspired by both Edward Burtynsky and Andrew Moore on the same day. The bright weather will aid my photoshoot as it will create harsh shadows and emphasise natures vibrant colours, symbolising the beauty in the untouched natural environments around us, which are slowly being destroyed and forgotten.
How – Similar to my shoot inspired by Edward Burtynsky, I will use natural sunlight to capture my images. I also plan on standing from a lower eye-level point of view and getting closer to the main subject of my photos to reflect Moore’s more grounded style of photography.
Why – My aim in producing this photoshoot is to mirror the work of Andrew Moore by capturing natural landscapes which have been effected by the human race with buildings and structures creeping into each photo. Additionally, I want to photograph areas of landscapes that have been tampered with by humans however where nature is retaliating against the urbanisation of it’s natural habitat.
Contact Sheets
Selected Images
Image Analysis
I have chosen to analyse this image from my Andrew Moore inspired photoshoot as it represents the idea of nature fighting back against industrialization. I captured this photograph at an abandoned greenhouse in Grouville, during mid-day using natural lighting to reflect Moore’s style of photography. The first element of my image that I really enjoy is my capturing of straight leading lines, creating direction in the photograph and guiding the observer’s attention into the center of the image. These thin abstract lines create geometric patterns from the mid-ground to the background and symbolize the rigid systematic way that humans are impacting natural environments. These artificial shapes contrast greatly with the organic pattern formed by the cluster of bushes and leaves which are reflected throughout the image. The texture created by these brambles is rough and spiky which gives the impression that nature is having to fight for its environment through force as society’s modern architecture will not let it thrive. Furthermore, the actual location of where this image was taken links to the Anthropocene idea even more as it is planned to be destroyed in order to make room for new housing and apartments. The context of the location shows how little humans are caring about the natural world, connoting the idea that they will let their beautiful landscapes become abandoned to make profit on industrializing and destroying them in the future. Additionally, the high saturation of colour in this image helps the observer to understand the value in our natural environments as it connotes the idea that when nature is left to thrive on its own it can create beautiful surroundings – however the vibrancy is juxtaposed with the dull monochrome greenhouse structure which symbolizes how nature is trapped behind the industrial bars of man-kind.
Natural Landscapes
During my Andrew Moore inspired photoshoot, I captured elements of the landscapes that I was in which showed nature, untouched by man and thriving in its natural environment. I wanted to photograph these landscapes to link to my initial idea of presenting the three different stages of industrialization, showing nature unharmed, nature fighting against man-made structures and nature destroyed with urbanization taking over – in my final presentation of images I wish to use these natural landscape images as the first photo in the sequence of three. I wanted to highlight the beauty of nature through vibrant colours and the use of negative space in the skyline – I believe this gives the impression of a clear clean future of surviving natural landscapes, which contrasts significantly with the other two elements of my Anthropocene project.
Edward Burtynsky’s work in ‘The Anthropocene Project’ has immensely inspired me, I really enjoy the way he uses a birds-eye point of view to capture his images as I believe it connotes themes of man looking down on all he has created. Burtynsky’s use of repetition and shape in his images is also a factor I wish to demonstrate in my photoshoot inspired by him, I believe it shows the uniformity of society and hints at how the growing industrialization of our planet is leading to an indifferent homogenized world. Additionally, I believe Burtynsky’s work holds many interesting uses of shape and texture- I wish to reflect his busy images by capturing landscapes with many similar structures and buildings to symbolize the growing destruction of natural landscapes. I aim to demonstrate how humankind, with its population explosion, industry, and technology, has in a very short period of time become an agent of immense global change.
Photoshoot Plan
What – I plan on photographing landscape images overlooking urbanised scenes and areas of Jersey, I aim to capture rooftops, buildings, roads, harbours, office blocks and industrial workplaces to show the sheer amount of unnatural sites surrounding us daily.
Where – My idea is to go to the top of Fort Regent car park to capture most of my images as the view looking over St Helier shows mass industrialisation. Additionally, I plan on photographing landscapes from footpaths along Halve Des Pas to show the modernised buildings around the shore line, and also from the harbour near La Collette to shows the industrial areas of our waters.
When – I aim to capture these images on Friday 21st May due to the weather forecasting lots of sun – this will benefit my photoshoots as I plan on spending the day going to different locations inspired by my chosen photographers (Edward Burtynsky & Andrew Moore) who both capture bright images using natural lighting.
How – I plan on photographing the modern landscape of St Helier from high places eg. the top of Fort Regent – however due to this location having a tall fence blocking the birds-eye view I will have to place my camera lens between the bars to capture the landscape through the gaps in the fence – if this poses as a problem I may have to drive higher and over look town from another location.
Why – My aim in producing this photoshoot is to capture images reflecting the work of Edward Burtynsky, showing the growing industrialisation of our planet and demonstrating how systematic society is becoming; reflected through architecture and the destruction of our natural landscapes.
Contact Sheets
Selected Images
Image Analysis
I have chosen to analyse this specific image from my Edward Burtynsky inspired photoshoot as I believe it holds several interesting uses of the formal elements, successfully reflecting the industrialization of the parish of St Helier. I captured this image at the top of Pier Road Car Park, placing my camera lens between the railings to photograph the mass of buildings across the town landscape. I really enjoy the amount of repetition I have captured in this image, I believe the span of windows all lined up in rows across each building presents the idea of a uniform, unchanging society where humans are the constant source of natural environmental destruction. Moreover, the row of trees captured in the mid-left of the image shows a systematic approach to taming nature, their orderly artificial shapes are unnatural and have been photographed to suggest that our world is becoming infested with industrial ideas in architecture and now clearly nature too. In the foreground, the rectangular geometric shapes that fall across a building’s rooftop almost resemble cards of paint colour swatches, symbolizing how humans treat environments as if they are their own rooms to decorate, destroying natural habitats like they are just options of paint shades. The composition of my image shows a wide depth of field, with a busy foreground and mid-ground with the only element of negative space seen in the background- this space, with its bright blue colour, provides a juxtaposition to the otherwise bland colours seen elsewhere of white, brown, cream and grey. The colour palette of my image connotes how the urbanization of our landscapes is destroying all the beauty within them, with unsaturated shades creating a monotonous mood for the observer. As I have photographed this landscape at mid-day using natural lighting, there is a wide range of dark and light tones – the darkest falling across shadowed sides of hotels and office blocks and the lightest within the highlights of white apartments. This extent of dark and light across the image creates a high contrast and, along with the harsh texture created by the repetition of geometric shapes, develops a hectic atmosphere for the observer.
I chose this photograph as my final image for this urban/industrial project due to it’s strong similarities to the work of Frank Breuer and use of the formal elements. I believe this image reflects the industrialisation of the modern world, demonstrating the ever growing mass of manufactured products taking over the nature around us. In this image I have captured waste skips using natural sunlight, which due to the sun falling behind them, has created harsh shadows underneath. I decided to photograph this landscape in such a way to connote the theme of a post-industrial capitalist society casting a shadow over the world as it destroys the beauty of nature. Additionally, these dark shadows could be compared and seen as similar to clouds of smog from atmospheric pollution, reflecting how harmful it is that this urbanisation of our world is increasing rapidly. Furthermore, I have captured repetition of thin straight lines that fall across the warehouse in the background of my image. These lines demonstrate uniformity and present the idea that the incline in modern infrastructure has lead to a homogeneous society, where things like architecture and people are robotic and indifferent. Due to the sun’s reflection on this building, the lines are highlighted and resemble structures like prison bars or cages- further connoting the concept that society is stuck in an industrial trap and locked away from the importance of our natural environment. Moreover, to imitate the work of Frank Breuer I have edited my image slightly by increasing the whiteness and exposure to mimic his blank backgrounds. I believe this editing choice has really added to the overall message of my piece, with the negative space representing how barren and empty our beautiful natural landscapes are becoming as a result of growing industrialisation. In addition, the colour palette of this image is limited, with a subtle peachy hue sweeping across it and the only pops of colour coming from the skips themselves. This relates to Breuer’s work and connotes the idea that society is devoid of originality and inventiveness through the lack of colour and repetition of shape.
Image Comparison
Frank Breuer | Containers 2002 – Compared to – My Industrial Image
I decided to compare this image from Frank Breuer’s study of ‘Containers’ in 2002 to my image of stacks of crates at the harbour due to their wide range of similarities within the formal elements. The first obvious similarity is that both Breuer and I have captured saturated primary colours as the main tones in our images. The use of the colours red, blue and yellow allude to the simple nature of how these industrial structures are becoming so normalised in our modern world, with the three most basic colours representing its triviality. The bright vibrancy of both images also draws focus to the urbanised structures, helping us understand the importance of the subject and how its impacting our world. Furthermore, Breuer’s and my image each contain repetition of geometric shapes which create echoed patterns throughout the photograph. In my image, I have captured repeated rectangle shapes which represent the uniformity and capitalist view of society- each rectangle a member of modern civilisation. In Breuer’s image, his repeated rectangles are larger and appear to be more solid stable structures- perhaps connoting the idea that our community is too set in its ways to change the clear neglect of our natural world- as if we are stuck in a looped pattern of destruction. Nevertheless, there is a difference between the types of repetition seen in each image, as Breuer has also captured it in the reflection from the puddle in the foreground of his image. These reflections could symbolise repetition from the past, as if we are being reminded of times where the industrialisation of our planet lead to some of the most devastating times in history such as pollution from the Industrial Revolution leading to a massive impact of global warming and the depletion of natural resources. Additionally, the comparison of these images highlights the difference in how our world has become even more modernised since Breuer’s was taken. For example, in Breuer’s photograph we can see a clear skyline of negative space, reflecting the barren landscapes urbanisation creates, yet in my image there are several industrial structures in the background as well as the foreground. This demonstrates how the industrialisation of our world is still growing rapidly to this day, with the two cranes in my photos background alluding to the increasing likelihood our actions and constant elimination of our natural world- though the time may be far away- will catch up to us eventually.
Above are two rural landscape images. The image on the left was shot by American photographer Ansell Adams and the right by myself.
Both images feature a low key, greyscale profile. The use of an ND filter and specific film allowed Adams to create an image with dominant dark tones whilst still allowing for the counteractive sharp highlights to come through in the image. I recreated this by shooting with a large aperture to include as much data in the image as possible and then altering the saturation and temperature of the image in post production. These methods allow for both images to feature a highly romanticized landscape. For example the dramatic moon in the center of a dark, almost fully black sky tucked behind a whisping blanket of clouds which are being pierced by a gathering of sharp snowy mountains is a typical depiction of an exaggerated, sublime landscape.
Both images feature a large tonal range from the dark sky’s and foliage to the white mountains and sand dunes.
Both images have similar form with the empty sky taking up two thirds of the image with the bottom of the image being filled.
They both contain a strong leading line horizontally through the image
Conceptually, both these images represent the idea of death and moving on. The images both feature dark, mournful tones. Adams image features a graveyard symbolizing death and my image contains a sublime landscape which was once flourishing but is now more baron symbolizing life and death. The images both feature bold horizons which alludes to the idea of “new horizons” and moving on from death.
Frank Breuer (1963- ) is a German photographer who studied under the notable photography professor Bernhard Becher at the Kunstakademie Dusseldorf, an academy of fine arts in Germany. Breuer travelled from 2003-2004 and became a visiting lecturer on visual and environmental studies at Harvard University. Breuer’s work holds many similarities to that of the Becher’s, focusing on capturing industrial buildings, storage units, telephone poles and detached shipping trailers in barren landscapes. In Warehouses (1995), Logos (1995), and Containers (2002), Breuer captures portraits of the post-industrial, capitalist society – facades of distribution warehouses devoid of human presence, logos of commercial businesses in nondescript places, and compositions of neatly stacked shipping containers that resonate both a sense of displacement and familiarity. Breuer’s work explores these ideas of the new topographies in a continuing globalized world, I aim to take inspiration from his minimalistic images in my urban and industrial photoshoots.
Image Analysis
Frank Breuer | Mercedes | Logos 1995
This image by Frank Breuer reflects the growing industrialisation of natural landscapes in our modern world. Breuer’s composition, photographing the subject from a lower angle, portrays the logo as imposing, as if it looks down on the people below it. Additionally, the natural environment in the background and right side of the image contrasts greatly with the industrial structure that stands amongst it. I believe Breuer has captured the structure in this way to reflect the way ‘man’ rules over the natural world, interrupting and destroying it bit by bit while keeping a watchful eye over all they create. Furthermore, in the background of the photo the sky holds little to no texture, very different from the rough texture created by the trees below. It is possible that Breuer has over exposed his image slightly to form such a bright white sky. This lack of texture behind the logo allows it to stand out greater than anything else in the image, creating the main focal point- as it has no distracting background pattern or landscape. This conveys the idea that society’s main focus is money and power, people are ignoring the natural world around them as commercial business’ are putting their influence in every place possible. The negative space created by Breuer’s over exposed sky also reflects the negative impact that urbanisation is having over the entirety of nature.
What – My plan is to photograph landscapes around Jersey that link to Romanticism- focusing on the coastline, woodlands and areas with dramatic weather changes. My idea is to capture images from contrasting perspectives, for example through trees, to experiment with how this effects the depth of an image.
Where – I aim to capture these photographs in locations such as Greve De Lecq beach, Noirmont woods, Queens Valley Reservoir and the coastline at Corbiere. I believe these settings will hold romanticized areas that will show the beauty of nature, for example cashing waves, dense forests etc.
When – I plan on conducting these photoshoots over the span of a few days to take advantage of the different weather forecasts. I aim on capturing clouded skies, sunsets, clear skies and dusk to explore how the range of the time of day images are taken effect their quality and the atmosphere they create.
How – To take full advantage of the differing lighting in my images, I plan on experimenting with the ISO on my camera as well as changing the white balance to suit the area I’m photographing. I will also change the image’s perspective by getting lower to the ground for some shots, and then higher looking over the landscape for others.
Why – I am conducting this romanticized rural landscape photoshoot to explore the secluded, natural environment of Jersey, capturing images relating to photographers such as Ansel Adams. I want to create drama and atmosphere in my images which I hope to do through the use of vivid contrasts and wide depths of field.
Contact Sheets
4 selected contact sheets – not all images included
Edited Images
During my editing process, after my first selection of favourite images, I experimented with adding a black and white filter. I did this in order to reflect the work of Ansel Adams, emphasising the dramatic dark and light tones I have captured. I really enjoy how these images look when black and white as I believe that the unsaturated filter adds a mysterious, impactful atmosphere to the images, demonstrating the natural world as a climactic experience for society to view. Additionally, making these images black and white has exaggerated the impression and emotions that these locations have surfaced- similar to the way Adams expressed his feelings on the surroundings of Yosemite National Park.
Final Image
I chose this image, taken at Queen’s Valley Reservoir, due to its wide range of tones, textures and interesting composition. The first element of my image that I really enjoy is the perspective it’s taken at, looking along the reservoir. I believe this composition forms a thick leading line from the foreground to the background of the image, guiding the observers eyeline through the landscape as it disappears into the distance. The wide depth of field that I have captured by experimenting with aperture settings exaggerates the vast scale of the landscape, creating a gripping atmosphere. Furthermore, my composition uses the rule of thirds as the foreground shows the glistening water surface, the middle of the image shows the span of dense trees and in the final third we see the bright sky. This composition technique reflects the landscape photography of Ansel Adams, emphasising the beautiful elements of the natural world in different stages- water, earth and air. Additionally, I really love the way the natural sunlight creates dramatic highlights over the water and shadows across the trees. This contrast in tones shows evidence of Ansel Adams’ Zone System, demonstrating zone 1/2 for the reflection of the trees on the water’s edge (as it is clearly the darkest point of the image however minimal texture can still be seen), and zone 8/9 on the water’s surface. This lighting/range of highlights and shadows creates a rippled texture across the reservoir which contrasts with the spiked texture of the tree tops. I used Adams’ Visualisation technique to imagine how this difference in texture would compliment each other, showing the fascinating patterns nature can make.
Ansel Adams Comparison
My Image
Adams’ Image
I have chosen to compare this image of mine to Ansel Adams’s “Monolith, the Face of Half Dome, Yosemite National Park,” 1927 due to their similarities in composition, subject and also their differences in texture and depth. I captured this specific image at La Corbiere Beach as it is a special place on the island for me and my family, full of nostalgia and childhood memories. It is clear Yosemite National Park was a special place to Adams as it was the main location for most of his landscape photography. Both images share similarities in composition, but both have independent aspects that make the images unique and contrasting, despite both being of rock-like structures. In my original image I captured the structure from a lower perspective in order to make it appear a lot taller than it was, which is a common technique Adams used in his work. Additionally, there is a similarity in the texture of the rock formations with both holding leading lines that fall down the edge of the cliff face. These irregular lines in Adams’ image, while they don’t reflect physical movement, emphasize the vast height of the mountain and create an effect as if the structure is growing taller and taller. In comparison, my image holds a rougher more jagged texture, as the leading lines have more jolted edges and sides- showing how the power of nature can manipulate the shapes and atmospheres of our surroundings.
Furthermore, there is a contrast within the colour and texture of each image’s sky which create differing moods. In the background of Adams’ photograph, he has captured a dark area of negative space making the sky seem as if it is an empty void, with little to no texture. Whereas in my image, I have captured the soft fluffy texture of clouds that disappear into the background creating a wider depth of field, as well as a brighter tone showing the main highlights in the image compared to Adams’ sky as his darkest part. However, I have taken inspiration from Adams’ Zone System in order to help me visualise the dramatic contrast in dark and light tones that I wanted to capture. For example, I have photographed zone 8/9 in my skyline which stands out behind zone 2/3 seen in the tones of the rocks. To create this effect while conducting my photoshoot I experimented with the ISO and shutter speed settings on my camera, this really helped me when editing my images in photoshop as I already captured quite dramatic differences in tone. Similarly, in Adams’ image we can see zone 0/1 in the dark abyss of the sky which contrasts greatly with zone 9/10 seen in the luminous white snow. These aspects of both images mirror the excitement and awe felt in each location, demonstrating how the beauty of nature comes in several forms, though similar; entirely different.
Ansel Adams (1902-1984) was an American photographer who captured dramatic black and white landscape images as a committed environmentalist. His love of nature, which led to him capturing some of the most influential landscape images in history, was sparked by his native area in California, Adams grew up in a house amid the dunes of the Golden Gate before the famous bridge linking the two headlands was built. The area around San Francisco was still wild then, and he would go on long hikes which helped him escape troubling aspects of his childhood, such as his unhappy schooling and his parents’ financial worries. Adams had so much appreciation for the natural world that he decided he wanted to capture it’s intense atmosphere through photography, it was important to him to show the drama and emotion he felt while exploring these beautiful areas.
The primary technique Adams used to photograph his greatest works was visualisation, the impact this concept had really changed the way photographers captured scenes and decided on their final images. The visualisation process included seeing the photograph’s final product in your mind, deciding the lighting, framing, tones, focus and all other aspects before actually taking the photo. Adams, when describing visualisation, said ‘We must explore what lies before our eyes for its significance, substance, shape, texture, and the relationship of tonal values. We must teach our eyes to become more perceptive.’ By using this technique, Adams has captured some of the greatest landscape images in history, clearly portraying a depth of emotions and connotations behind each photograph. An example where Adams used visualisation as his breakthrough was in 1927, when he wanted to capture the ‘majesty’ of the Half Dome rock formation at Yosemite National Park, but only had one plate left. Visualisation was used when Adams started picturing the image he wanted, ‘a brooding form, with deep shadows and a distant sharp white peak against a dark sky’, however he realised that a yellow filter would not capture the drama of the image as he saw it. Instead, he used a red filter with a long exposure to photograph the image he had imagined in his mind, he said he had achieved ‘my first conscious visualisation’, which allowed him to capture ‘not the way the subject appeared in reality but how it felt to me’. Furthermore, Ansel Adams (along with Fred Archer) formed ‘The Zone System’ where they were able to perfectly control the contrast in their black and white photos, Adams’ base rule was: “Expose for the shadows; develop for the highlights.” The Zone System consists of 0-10 tonal shades (0 being pure black, 10 being pure white) which Adams used to determine the final development of his images. This technique has allowed photographers to have control over the darkest and lightest points of their image, manipulating the meaning and effect portrayed through highlights and shadow.
Ansel Adams’ Photography
Image Analysis
Ansel Adams | Yosemite Valley | Yosemite National Park | 1934
In this photograph Ansel Adams has captured the dramatic atmosphere of Yosemite National Park, with several dynamic features that really show the beauty of nature. The first element that really stands out is his use of the rule of thirds in the composition of this image. In the foreground we can see a dense forest forming 1/3 of the photograph, the middle of the image shows the colossal mountains and the last 3rd of the image depicts the clouded sky. Each section of the photograph holds a different tone, gradually getting lighter as the viewer’s eyeline moves up the photo. Adams has created an easily noticeable sequence through this technique, allowing the observer’s focus to travel through each section, appreciating every small detail of the beautiful nature Adams wanted to capture. Moreover, Adams has used his signature technique of ‘The Zone System’ to further the dramatic contrasts and establish a relationship between the darkest and lightest points of his image. For example, Adam’s has captured zone 0, the deepest tone, around the edges of his photograph which creates a vignette effect as the dark shadows gradient into the middle of the image. Additionally, we can see Adams has captured one of the brighter zones such as 9 or 10 in the centre of the image, highlighting the expanse of mountains going into the distance. This not only shows a wide depth of field, but also the use of this bright white tone connotes themes of biblical imagery, as if a God-like figure waits at the end of the mountains shining a white light to guide the way. It is clear that Adams used a higher f- number to capture this depth as the aperture would need to be larger in order for him to photograph every minuscule detail of the environment around him.
Furthermore, Adams has captured leading lines throughout this image, which act as outlines separating the jagged mountains from the sky. For example, in the mid-left of the photo the observer’s attention is brought to the dark, curved outline of the forest covered mountain which contrasts greatly with the brighter mountain wall behind it. Also, the range of shadows and highlights captured in each mountain’s peak really emphasises the emotion and astonishment Adams felt while taking in this natural environment, it exaggerates his feelings towards the beauty of nature. Another clear feature of this image that shows this dramatic contrast is Adams’ use of directing sunlight to highlight specific areas of his photo. In the mid-right of the image Adams has positioned his camera in a way to capture the bright natural light reflecting off of a waterfall- clearly creating a contrast between the dark shadows of the forest and the glowing water. In addition, there is a wide variety of textures created in this image that further Adams’ theme of the importance and elegance of the natural world. The harsh pointed lines of the mountain peaks form an irregular and spikey texture however the thick scope of trees below provides a more bristly feathered texture, as they all lie closely to each other forming a sort of blanket. This contrast and range in textures creates a powerful atmosphere as they exaggerate the breath-taking feeling, and contrasting emotions, Adams felt while admiring this surrounding.
Stezakers’ works focus on photo montage to give old images a new meaning and add a creative surrealistic tinge to his photography.
He focuses on the similarities of structural and compositional elements of an image and stitches them together in a seamless yet surreal fashion. For example in the below image he uses the structure of the cliff faces and relates them to the structure of the subjects faces in the background.
This image has quite a flat, monochromatic style which almost gives it a warm balance, soft texture and comfortable feel. The montaging of the cliff faces is visually appealing as it is framed in the centre of the image. The two layers to the image each have their own depth which creates this double up of depth in the image and the eye has a lot of elements to look at which would give it a chaotic composition however because of the montaging the additional layer fits seamlessly within the background which cancels out this chaos and rather satisfies the composition.
My response to Stezakers’ work:
John StezakerMichael KenealyJohn StezakerMichael Kenealy
