Anthropocene refers to the time in which humanity affects the earth substantially in terms of climate, natural ecosystems, resource availability, the atmosphere, the oceans and so on, as opposed to when nature itself is the most impactful force on the earth.

Anthropocene typically generates themes of pollution, destruction of habitats/landscapes and other negative connotations which displays nature as something dying due to humanity’s advancements.

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For artists/photographers, the theme of Anthropocene can create work attempting to display humanity’s affects on the environment by capturing destroyed/tainted landscapes or other sombre subjects.

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Case Studies:

J. Henry Fair

J. Henry Fair is a Berlin/New York based photographer who uses his photography to “tell stories about the things that affect people”, which typically involves photographs that show large-scale destruction or pollution of a location. Fair uses his photography to promote conservation that ranges from small scale protection of space from development to preventing damage to an environment from an international company.

I chose Henry Fair as a photographer to study because I think the way he uses his photographs to shine a light on the damage the environment is experiencing fits nicely with the theme of Anthropocene. I also find the images surrounding oil spillages in particular to be interesting, as they are both artistically nice to look at, but also concerning in the sense that it shows humanity’s impact on the planet.

https://www.mattpaynephotography.com/gallery/inaugural-landscape-photography-conservation-award-winner/

I like this image because of its bright colours and the patterns they create. I think the colours make the image look more abstract, making the viewer think first about what they are seeing, then why the photographer is showing them this – I think that works very well with the theme of Anthropocene. In addition, the use of complementary colours, the bright blue sea contrasting with the orange parts of the oil, gives the image a more artificial look, which could link to the theme of Anthropocene in the sense that humanity uses artificial substances such as plastics which eventually contaminate the natural landscapes, shown clearly in this photograph. Clearly the bright red patches on the right (bleeding into the left) side of the image act as the focal point, which could have been done by Fair to put emphasis on the oil spill and its effects on the earth. I think the lack of any shadows makes the image itself more clear, allowing the subject of it, the water and oil, to stand out more.

More Examples of his Work

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Troy Paiva

Troy Paiva is an America-based photographer who’s career started in 1989. His exploration of desolate urban settings lead to his distinct use of light painting in these settings, giving his images a unique, alien-like aesthetic. Paiva has made several books displaying his works, each showing urban ‘graveyards’ of abandoned ruins. He specialises in night photography, which allows his images to gain a sense of surrealism, as well as allowing the lights to be made clearer, giving some of his images a very abstract look.

I chose Paiva as a photographer to study because I thought his light painting photography was unique and created a clear parallel between the natural and the unnatural through his use of artificial lighting. I was inspired by his use of colour and I wish to use it in my own project.

Interviews: Light Painting Photography Interview, BL Blog Interview

I think Paiva’s use of complementary colours in this image gives it an unnatural, abstract look, which I think links well with the theme of Anthropocene. The colours also give the car a sense of life and animation, which contrasts with the desolate landscape it inhabits seen in the background. I like how Paiva took the image just after sunrise/before sunset, allowing the sun to be seen, illuminating the sky and landscape, which gives the image more colour and shape (especially in the background). The coloured lights also give the car (especially the interior) bolder shadows, providing a contrast that helps the car stand out more. I also think it is interesting how Paiva used a red light to illuminate only the exterior of the car, while the interior of the car is only illuminated by a green light, I think it gives the image a more artificial look. The lines that shape the car are far more straight/regular, whereas the lines and shapes of the natural landscape in the background are more irregular, which creates a contrast between the car, as a man-made object, and the landscape.

More Examples of his Work

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Comparison

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Similarities

• Both of these images use colour as a way to give the image an abstract look
• Both images use unnatural subject matter (Fair’s using an oil spill and Paiva’s using a car)
• Both contain natural elements that contrast with the unnatural ones

Differences

• Fair’s image focuses more on the awareness of damage to nature, while Paiva’s image seems to aim for a more artistic focus
• Fair’s image uses soft, irregular lines due to the subject being strictly natural (the sea), while Paiva’s image uses both soft and hard lines to create a contrast between the urban and the natural
• Fair’s image uses natural lighting, while Paiva’s image uses a combination of natural and artificial lighting (however the artificial lighting seems to dominate the lighting of the image overall)

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Moodboard of Photoshoot Inspirations

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David Thomas Smith is an Irish photographer who uses satellite images to create photomontages, which are reflected versions of the original images. He often picks complex man-made structures with a large dependence on oils, precious metals, and tourism, to explore the impact of Anthropocene on the landscape. The reflections show the dull and repetitive nature of architecture in a capitalist society, while also showing how these things could be seen as beautiful from another view.

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These pieces are displayed on large canvas’ so people can look at them up close and see each of the small details. They also bear similarities to traditional Persian rugs, with their size and incredible amount of detail.

https://www.david-thomas-smith.com/about

“Appropriated imagery is a predominant feature in my work; I think it’s a rather fitting way to work in a world that has become awash with images. I make work that is multi-dimensional. Having come from a background in documentary photography, it is important to me to draw attention to socio-economic and political issues. While at the same time exploring more metaphysical concepts. I make my work aesthetically pleasing, rich in detail and large in scale in the hopes that the viewer can reflect on the ideas and issues that are prevalent in the work, whilst also getting a better sense of their own position in the world.”

David Thomas Smith

Smith uses aerial photography to obtain images of the city from above and then manipulates them to create dense, kaleidoscopic pieces. In this image, the city has been reflected, resembling a cross (often associated with Christianity, even if Smith is not a Christian, he would still be familiar with the symbols due to his Irish heritage.) – contrasting the city of Las Vegas known for its casinos and various luxuries. The colours are dull despite it being day, juxtaposing the average view of Las Vegas, of it at night with bright colourful lights. There is a clear grid and the image is incredibly geometric, showing the rigid and repetitive nature of modern city design.

Yao Lu is a Chinese photographer who combines photography with traditional Chinese paintings, and explores the relationship between people and the environment. He uses many of the aesthetic conventions of painting when deciding the compositions of his photomontages and wishes to use them to show the contrast between tradition and development.

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Lu’s photomontages depict strangely proportioned construction sites fighting against the traditional Chinese painting style he uses. He layers images of green netting, often used in construction and around debris, behind coats of clouds, shrouding them in mystery, forcing the audience to take a closer look and realise that the green is in fact unnatural and artificial, and consuming the landscape around it.

https://photographyofchina.com/blog/yao-lu

https://www.brucesilverstein.com/artists/yao-lu

In this image, Lu has used a brown paper background, and the focus is on two hills, one in the midground and one in the background. He uses his signature green netting to represent grass and clouds to cloak the majority of the empty space. In the foreground is a building following traditional Chinese architecture, potentially some kind of temple. It is off balance- potentially representing how the balance between humanity and nature has been tilted due to humanity’s hunger for more. It could also represent how China (and by extension the rest of the world) is neglecting tradition and the past. The clouds surrounding this building look more like storm clouds, perhaps foreshadowing the dark future humanity is heading towards in the coming climate crisis. The area around seems abandoned, inhabited only by some construction equipment sitting in the dusty wasteland. On the hill in the background seems to be a city, spewing cloud like smoke into the sky. It is significantly higher up, looking down on the old world below.

1st Photoshoot:

For my first photoshoot, I’m going to try and take pictures of different building sites, scaffoldings and actual buildings to show how humans change their environment.

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2nd Photoshoot:

For my second photoshoot, I’m going to focus on taking pictures of more rural areas and edit them next to my industrial ones to show contrast of the damage made.

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3rd Photoshoot:

For my third photoshoot, I want to focus on taking photographs of abandoned and overgrown buildings. This is because it shows humans have done to nature and it fighting back.

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Edward Burtynsky

Ed Burtynsky is a Canadian photographer and artist known for his large format photographs of industrial landscapes. His works depict locations from around the world that represent the increasing development of industrialization and its impacts on nature and the human existence.

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Image analysis

In this photo, Edward Burtynsky portrays the amount of rubbish being dumped in this world. It makes you think about how every discarded tire in the world will probably end up in a place like this. This photo shows Anthropocene in the aspect that humans are destroying the world gradually, and how these tires are covering up the beauty of the land around. This looks like it would be a nice valley, however due to the impact of humans it has been masked by these discarded tires. This photo makes you think about how if this carries on, in 100 years not just tires but any rubbish could cover up historical landmarks to never be seen again.

Jem Southam

Jem Southam was born in Bristol in 1950. He studied at the London College of Printing for a Higher Diploma in Creative Photography from 1969 to 1972. He is now Professor of Photography at the University of Plymouth.

Robin Friend

Robin Friend (born 1983) is a British-Australian photographer. His book Bastard Countryside brought together “15 years worth of exploration” the British Landscape with a large format view camera. Included in this publication by Loose Joints is an essay the landscape writer Robert Macfarlane.

Edward Burtynsky

Edward Burtynsky is regarded as one of the world’s most accomplished contemporary photographers. His remarkable photographic depictions of global industrial landscapes represent over 40 years of his dedication to bearing witness to the impact of humans on the planet.

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For some 35 years, Burtynsky has been photographing humankind’s industrial intervention in natural landscapes. His panoramas have expanded with technology. Since 2003, he has used helicopters and, since 2012, a bespoke drone. His images help us look down on our planet in a new and detailed way

Burtynsky’s prints are large, usually 60 inches by 80 inches. You often need to read the labels to know precisely what you are looking at. The photographs on show in London range from copper mining in British Columbia (the viewer peers down into a great pit beside a sinuous road of loaded trucks climbing and descending) to oil pirating in the Niger Delta (a scorched earth of oil slicks, languid muddy waters and sparse vegetation) and a gleaming Italian marble quarry (an astonishing vertical wall of Carrara marble, marked out in great blocks and ready for extraction).

More about his work

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Burtynsky refers to himself as “an artist.” His work, he tells me, has been influenced by the Abstract Expressionists. In previous interviews, he’s made reference to Jackson Pollock and Paul Klee, and you can see this in the shapes and subdued earthy palettes of his photographs. “I am thinking of Pollock in the intensity and vibrancy of the surface,” he explains.

Image Analysis

I have selected to analyse as i think this is on of the most eye catching images of his work. The main aspects which catches our attention is the contrasting colours, as the image is full of warm and then cooler tones images and the yellow and blue juxtapose each other. Furthermore, I think that the the message behind this image is important as it represents how pollution has negatively affected out environment, with the blue and yellow lines contrasting so much so with the ground which could link to how oils corrupt the earth when misused. This links to my project as I will be photographing the industrial areas of the island and showing how much the island has changed due to the human population. The rule of thirds is used in this image, with the yellow only taking up one third of the image, with the corruption of the blue taking up two thirds, this may be a reflection of how much human life has alerted the natural landscape.

George Marazaki

The idea to frame his natural landscape as a symbol for disease did not come to Marazakis right away. Instead, he slowly made the connection over time, after realising he was continuously drawn to a generating a certain type of landscape photography.

The ominous tone of Marazakis’ images are grounded in their muted colour scheme, which makes the scenes appear somewhat extra-terrestrial. It’s surprising to learn that they were all taken in Greece, where overcast days are few and far between. “These are the original colours and scenes,” Marazakis says. “I almost never go out shooting in harsh light, and I really love heavy clouds and fog, which are hard to find in Greece. To achieve this result, most of my work is made in the winter, in the early morning or late afternoon.”

“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”

-Marazaki

Examples of Marazakis’ Work

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I like that his work is recognisable and I agree that it has an ominous tone, however I think this makes his work unique. I like that his pictures are more dull because I think this brings more attention to the landscape in the image rather than the vibrancy of the photograph. Furthermore, the fact that the rule of thirds is used in most of his work means that the composition of the original photographs has been well thought out.

“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.”

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Link to my project: I like that Marazakis’ work is to illustrate humanity’s effect on earth, photographing natural aspects such as clouds and mountains and also have structures such as greenhouses and stone buildings. There is a contrast between every image and i think that what his work stand out as interesting. Recreating his work in my own style would relate it to our island of Jersey, and I could photogram the industrial estate and farmland to do so. Furthermore, I think that what makes his work even better is how it’s clear and identifiable, Marazakis’ work has an important message behind it, focusing on very current world issues. Anthropocene has only been recognised since the 1950’s and to use modern technology to spread awareness of the issue means that these ideas are easily linked to my project.

Bernd and Hilla Becher

Bernhard “Bernd” Becher, and Hilla Becher, née Wobeser, were German conceptual artists and photographers working as a collaborative duo. They are best known for their extensive series of photographic images, or typologies, of industrial buildings and structures, often organised in grids.

Bernd and Hilla Becher first began their still-ongoing project of systematically photographing industrial structures – water towers, blast furnaces, gas tanks, mine heads, grain elevators and the like – in the late 1950s.

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At each site the Bechers also created overall landscape views of the entire plant, which set the structures in their context and show how they relate to each other. The typologies emulate the clarity of an engineer’s drawing, while the landscapes evoke the experience of a particular place. The exhibition presents these two formats together; because they lie at the polar extremes of photographic description, each underscores the creative potential of the other.

He once said he “was overcome with horror when I noticed that the world in which I was besotted was disappearing”.

-Bernd

There was more to it than that, though. Bernd Becher’s fascination with industrial architecture was rooted in his childhood in the Ruhr, and he was acutely aware that the mega-structures throughout Germany, Europe and America would soon disappear from the landscape, just as the ones around his home had as Germany moved into a new, post-war economic era.

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Bernd and Hilla Becher have profoundly influenced the international photography world over the past several decades. Their unique genre, which falls somewhere between topological documentation and conceptual art, is in line with the aesthetics of such early-twentieth-century masters of German photography as Karl Blossfeldt, Germaine Krull, Albert Renger-Patzsch, and August Sander.

Image Analysis

I have selected this image of Bernd and Hilla Becher’s as I think that the grid layout of twelve and not nine makes for a more interesting image as there is more to looks at, and their is more opportunity to create more affective images as part of the final piece. Firstly, I think that the fact that these images are in black and white means that the image may appear more authentic and this highlights the different shadows and shapes within the water towers, for example the squares in the 8th image. Furthermore, the variety of shapes within this image creates a more exciting image, meaning that the contrast between the circles, rectangles and the cylinders placed next to each other creates depth to the image.

Frank Gohlke

Frank Gohlke is an American landscape photographer. He has been awarded two Guggenheim fellowships, two fellowships from the National Endowment for the Arts. His work is included in numerous permanent collections, including those of Museum of Modern Art, New York; the Metropolitan Museum of Art; and the Art Institute of Chicago. Gohlke was one of ten photographers selected to be part of “New Topographic: Photographs of a Man-Altered Landscape,” the landmark 1975 exhibition at the International Museum of Photography at George Eastman House.

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In 1971, Gohlke relocated to Minneapolis, and a year later, in 1972, he began his first major body of work, documenting the grain elevators of America’s central plains. Over the next five years, from 1972–77, the project took Gohlke from Minnesota to Kansas, Oklahoma, Texas, and New Mexico. From his early aesthetic interest in grain elevators, Gohlke became fascinated by their design, their connection to the surrounding landscape, and their function within the cities and towns they occupied. His photographic practice grew to include a research component whose relationship to the pictures themselves was one of reciprocal influence

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Frank Gohlke has, in his work, dealt consistently with questions of human usage and perception of land. He has photographed farmland in central France (on a commission from la mission photographique de la DATAR) conducted a personal survey of a portion of the line of latitude 42˚30’ N, which bisects Massachusetts; made two series of photographs tracing the courses of the Red River in North Texas and the Sudbury River in Massachusetts; and documented the urban landscape and residential architecture of Queens, NY (conjointly with photographer Joel Sternfeld, on a commission from Queens College)

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What is Anthropocene art?

The Anthropocene Project is a multidisciplinary body of work combining fine art photography, film, virtual reality, augmented reality, and scientific research to investigate human influence on the state, dynamic, and future of the Earth.

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Mind map –

This is my mind map of ideas to carry out for my photoshoot for the theme of Anthropocene. I think that this is a really broad theme which I will enjoy because it allows a lot of creativity, I have decided to focus on coloured plastic bag photography as I think that it can create beautiful patterns and illusions while also using something that damages the environment and is a huge problem towards the Anthropocene. It can be used as a way to highlight the importance through difference colours such as red, for danger, or blue, for the sadness which it creates.

Mood board –

Further more on focussing on plastic bag photography, I have created this mood board to better explain the inspiration which I will be using in my photoshoots and how I will expand on this in my own way. These photos mainly come from exploring the work from the photographer, Vilde Rolfsen and Naomi White.

Photoshoot ideas –

For my photoshoot, I will create a mini studio out of plain white card to have a crisp background for the photos and I will be using coloured plastic bags that I’ll experiment layering with by placing them on top of each other to create a mix or illusion of an Ombre of colours to highlight certain problems with the dangers of plastic bags, I then will use a flashlight underneath the plastic bags to create a main point to focus on in the photo as it can create the illusion of a tunnel or centre. I will experiment with the f-stop while taking photos which will help darken/lighten the pictures and highlight the creases well in the plastic bags, making them more defined.

My second photoshoot, I will focus on taking pictures in the style of Naomi White of plastic bags. I will create this by using a lightbox to create a bright white background which will contrast well against the coloured plastic bags and experiment with different angles and changing the colours of the bags used as well. I will also use a infinity curve as another way to experiment with having a plain white background, I think that this way will make it look nice and smooth whereas the lightbox won’t have as big of a surface area.

My ideas and concept:

One of my ideas is to travel to the quarry in St.Johns and take photos from the top of the quarry because I think it is a really good response towards Anthropocene because it shows the effect of human life on natural landscape. I am going to take around 50-100 images and edit them to respond appropriately to my project. These landscapes suit the project very well because it shows a clear effect and response of how nature has been destroyed and used for human advantage.

Another idea is to go to the incinerator and take a range of images from different angles from areas around the incinerator and industrial site. I will use these images and export them to photoshop to carry out some edits.

Photoshoot action plan:
For my Anthropocene photography mock exam I am going to have 3 photo shoots in different locations that link to the topic of Anthropocene. For my first photo shoot I am going to go to the quarry which is located in the parish of St.Johns.

I think that location will be very good for this topic because it shows humans effect on natural landscape. My next location for my photo shoot will be at the Jersey recycling centre because I believe it presents the problems of humanity in a very effective way.

For my final photo shoot location I am going to travel to the dump located near St.Helier and aim to take a range of 50-100 photos.

During my mock exam, I am going to select a range of my best images taken on my multiple photoshoots and decide which ones I am going to edit and use. I will use lightroom to firstly edit my photos and then further develop on photoshop until I am happy with my result. I will create multiple blog posts responding to Anthropocene through the style of my images and analysis.

Anthropocene Location Mindmap

Photoshop ideas:

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Richard Mosse

Richard Mosse is a contemporary Irish photographer. Using infrared film, he captures war-torn regions as well as migrant routes. Born in 1980 in Kilkenny, Ireland, he received his MFA in photography from the Yale School of Art in 2008. In 2013. The artist lives and works between New York and Berlin. His work is in the collections of the National Gallery of Victoria in Melbourne, the Museum of Contemporary Art in Chicago, and the Kemper Museum of Contemporary Art in Kansas City.

“infra”

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Mosses work has spanned over decades and it captures the beauty of war and the pollution of the world. One of his projects, “Infra” captures the ongoing war between rebel factions and the Congolese National Army in the Democratic Republic of the Congo. The aerochrome film the photographer uses, transforms dense green foliage into fluorescent pinks and blues. The surreally tinted backdrop, seems a psychological barometer of violence and surveillance. Mosse said in an interview, “I wanted to export this technology to a harder situation, to up-end the generic conventions of calcified mass-media narratives and challenge the way we’re allowed to represent this forgotten conflict… I wanted to confront this military reconnaissance technology, to use it reflexively in order to question the ways in which war photography is constructed.”

“The Castle”

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Another project by Mosse, titled “The Castle” is a conscientious documentation of refugee camps and staging sites along mass migration routes into the European Union via Turkey from the Middle East and Central Asia. Mosse uses a thermographic camera to take the shots of the camps and refugees, which creates very unique and eye-catching photos. Thermographic cameras, sensitive to heat from human bodies rather than light, are used for long-range surveillance and the policing of borders. Mosse retools this camera technology, self-reflexively and with subversive intent. He takes conventional images of dispossessed refugees, usually represented with a humanistic eye, by depicting them as spectral presences in a peculiar landscape of half-recognizable built environments.

Mosse’ work is very inspiring to me and I am really interested in his work, the pictures he has taken which explore the theme of Anthropocene are very unique and I have not seen a photographer take photos like his before. Everything from the cameras used to take the photos, the locations of the photos and the reasoning behind the photos are very interesting to me and inspiring.

Mosse Image Analysis

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The aerochrome film used by Mosse to take this shot, portrays the foliage in the image as a beautiful pink colour, rather than the usual green colour. This can be argued to portray nature and the untouched world as very pleasing and appealing to the human eye. The rest of the picture shows the world affected by humans, it contains a digger which has dug up the land, this part of the image is very bland and mostly shows the colour brown; which compared to the beautiful pink is a very boring and ugly colour, this could suggest that the beautiful untouched world once touched by humans turns into this ugly brown world. This image spreads a lot of awareness about Anthropocene and the effect the human race has had on our world.

Troy Paiva

Light painting photographer Troy Paiva has been capturing night imagery since 1989. He considers himself an “Urban Explorer” and says that his light painting photography is a by-product of his passion for investigating the ruins of “Lost America”. Troy spends much of his time alone, in the middle of nowhere, photographing abandon building and places that America has lost to time.

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The sense of isolation and loneliness draws Troy to these locations, “I love the surreal feeling of wandering through an abandoned subdivision, alone, in the middle of nowhere, in the middle of the night. Your senses become heightened and you feel the weight of time.” Troy has written a few books about his time spent light painting in these forgotten places called “Night Vision: The Art of Urban Exploration”. and Boneyard: SoCal’s Aircraft Graveyards at Night.

Troy Paiva’s work is very interesting to me, the way he adds all of this colour to these abandoned forgotten structures and vehicles gives them life once again which really draws me in to his work. As well as this, his work is very visually pleasing. After viewing his work, it has given me lots of ideas and inspiration in my photoshoots. The subjects he photographs for his images fits into the topic of Anthropocene as, it is all abandoned human built structures which have been forgotten and left to be taken over by nature.

Paiva Image Analysis

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This image by Troy Paiva is very interesting to me, it portrays a destroyed car being picked up by an arm ready for it to be fully destroyed for good. Although the car is destroyed, or dead, it is shown to have lots of colour all over it suggesting it still has life to it. This could be portraying that even when nature is destroyed by humans, it still is alive and humans will never truly get rid of nature no matter how much we pollute the Earth

Edward Burtynsky

Edward Burtynsky is a Canadian photographer and artist known for his large format photographs of industrial landscapes. His works depict locations from around the world that represent the increasing development of industrialization and its impacts on nature and the human existence.

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Edwards lens captures rivers that run fluorescent, mountains of detritus, and arid landscapes: vivid reminders of humanity’s impact on the planet in haunting aerial photographs. “These images are meant as metaphors to the dilemma of our modern existence; they search for a dialogue between attraction and repulsion, seduction and fear,” he has explained of his work. “We are drawn by desire—a chance at good living, yet we are consciously or unconsciously aware that the world is suffering for our success.”

Burtynsky’s work greatly portrays the impact of humans on the world. His photos are very inspiring to me and he is one of the best photographers I have seen when it comes to the subject of Anthropocene. His photos are taken all over the world and truly gives a perspective of just how much the Earth has been taken over by humans, his work gives me many different ideas for photoshoots and photo manipulation.

Burtynsky Image Analysis

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This photo, by Burtynsky, is taken from an aerial view. This truly shows a huge perspective of the subject he photographed. A huge open space covered in farmland created by the human race. This photo perfectly portrays the amount of Earth that has been taken over by humans and fits perfectly within the subject of Anthropocene. The lighting and colours in the photo are very bland and basic, which could be emphasising the fact that we have taken over the world and there needs to be change.

The Anthropocene Epoch is an unofficial unit of geologic time, used to describe the most recent period in Earth’s history when human activity started to have a significant impact on the planet’s climate and ecosystems

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