I decided to do a shoot of a collection of objects and images inside my house, focusing on objects related to myself and my family.

I decided to alternate between monochrome and coloured images, taking inspiration from both LaToya Ruby Frazier and Vasantha Yogananthan. Again I do not have many pictures from this shoot due to camera issues on the day.

Photoshoot plan

Contact Sheets

Editing

Overall I think my editing was quite successful – at first, I tried editing in colour but due to the poor light quality in these images, I changed to black and white. I prefer editing in black and white with high contrast and grain even with better-lit images so this worked well.

After doing numerous edits in black and white, I created copies of various best images and began to experiment with colour grading in colour, and then in black and white. I don’t know if these images will necessarily be in my final outcomes but I still think they were quite successful.

My experimentation with colour grading was helpful as it will be something I can use later on in this project, for example when editing other images for different parts of the project.

Final Images

Evaluation

This photoshoot could be improved. The lack of good lighting impacted the quality of my images as I was shooting using overhead lighting that was too warm-toned. I tried to combat this with white balance, ISO and using a cool tone which did help slightly but I think I will carry out another photoshoot of self-portraits with much better light, possibly in another location. I want to touch on my identity linked to the location in the photos, which I did touch on a little in this shoot but due to struggles with lighting my locations were limited around my house. I plan to re-develop this shoot at my grandmother’s house, or again at my house, now that I have gotten to grips with the correct camera settings, using my tripod effectively and positioning myself in the way I want compositionally. However, I think this photoshoot was in some parts successful – I produced quite a few images which I like, showing my personality which was a strong point of this shoot. I wanted to bring across my identity in this photoshoot, and then be able to link this later on to how this links with my mother and grandmother’s identities, both now and also with the help of archival material, which then forms the main idea of my project. Having completed this photoshoot, I am going to carry out another self-portrait shoot which links more directly to my archival material and with better lighting quality.

Photoshoot 2

Aims of the shoot

This shoot is a development of my last self-portrait shoot. As I discussed above in my evaluation for my last shoot, I have gained further inspiration from photographing archival family images. These images have given me inspiration for posing, framing and editing – I plan to juxtapose archival and new images in my photo book and I feel that the development of this new shoot will generate further images that will draw clearer comparisons between the two sets of images. This photoshoot is in the same location as my last shoot: my bedroom and living room, which are two places of significant personal identity to me. I wanted to show this through my poses, background and attitudes throughout my shoot, taking inspiration for these aspects from my archival images. In this shoot, I aimed to take images with improved lighting quality than my last shoot – as shown above, I took my images too late in the day which produced poorly lit and overly grainy images, and this shoot was planned in part because of this also.

Contact Sheets

At the start of my shoot, I struggled with the yellow lighting and warm tones of my living room. I shot in a better light than my last shoot, so I had less of a problem but it was still unhelpful – I only took a few images here and then moved to my bedroom.

After moving to my bedroom the lighting improved – I only used natural light which helped me in producing clear images. In my lounge I struggled with yellow-toned lighting which reduced the quality of my work – natural light helped.

These are my best images for the shoot, flagged and given a purple label which corresponds to this particular shoot.

Final Images

Inspired by Lewis Baltz

Below I have shown some of my images which are much like that of the works of Lewis Baltz, and then how I have edited them in Photoshop and Lightroom to either make them more creative, or adding another image to them in an attempt to create more depth within the images created from this project. I would like for someone to look at my final images and consider the work of Lewis Baltz’s work next to mine, as I have attempted to stay within the rules of his work so that I could create more thoughts in regards to the compare and contrast posts.

I particularly like this photograph above, and believe it is among most more successful pieces throughout all of these images. This is because of the composition of the image and how the simplistic look can be associated with Baltz, but the smooth tones and colours could be representations of Misrach. I believe that having some photographs which can correlate to either or both of my artists increases the quality and final pieces that my photoshoots create.

Inspired by Richard Misrach

To demonstrate how I have taken inspiration from Misrach, I have selected some edits and showed how I have edited some images in photoshop to create my own versions of Misrach’s work. These images are some of my most successful from all of photoshoots, and additionally I think that they represent Jersey well, as these photographs all show the island in a beautiful way, especially as the sunsets are so appealing and contrast a lot of Baltz’s work. I like that Misrach’s work is a lot softer and somewhat more elegant than Baltz, and it could be said that this is because of the variety of smooth shades and colours, which I have been trying to recreate in the image below.

These photographs are from both my La Collette and my Greenhouses photoshoots, I really like the fact that these pieces of work are good quality examples of his work, whilst also having elements of my own style of work. For example, the first and last images and angles of structures that I like to continuously recreate in my shoots, whilst Misrach only uses wide shot images of buildings/ landscapes, with lot of negative and free space throughout his photographs. This is mostly how our work differs as I have taken inspiration from the types of landscapes and lighting, however the compositions of our work are very different.

Editing Process

Below I have demonstrated how to cut out parts of images from photoshop and place an image behind, the aim of this was to create visually interesting edits which could be presented as final pieces onto form board or placed in virtual galleries. I had this idea as soon as the project began and thought that these pieces could have a lot of potential and depth behind them. To create this I had to use photoshop in order to cut of the squares using the ‘object selection tool’.

Overall, I don’t think that these pieces came out successfully at all, they didn’t come out to be the way that I expected, maybe this was because of the images that I have used in the background (one being from my Greenhouse photoshoot and the other being from google) as they seem to look good against the tan/ warm tone of the block of flats. I think that these images did not appear to come out as I would have hoped, however I think that this isn’t a bad thing as I can recreate this technique with maybe a different image of the flats.

Inspired by my previous project

My last Anthropocene Project included lots of inverted and colour editing, and after creating photographs that are much like Lewis Baltz and Richard Misrach, I have decided to include some both original and edited images from all of my photoshoots which don’t necessarily relate to any of these artists. The whole purpose of this is to show some of my own creativity outside of the inspiration I have taken from both of my selected photographers. I would like to showcase the experimentation that I have done which may not be as successful or even featured in my book, but demonstrate that editing images can make them more interesting.

This is my first example of using the invert filter, I think that this image doesn’t look as good invert as all of the subtle colours and tones are lost throughout. I like that this image is very bold representation of Anthropocene, there is still a gradient of brown to orange and yellow throughout the image and I think this adds to the complexity of the photograph, and shows that this kind of editing can be very successful or not worth it, In my opinion, its a good way to change images that you would like to be bold and ones you would like to present as stand out images.

What is the purpose of this editing and how does it link to Anthropocene? This editing below is created by changing the ‘Colour Balance’ setting in Photoshop. I like this editing as I think that it makes metal framework and structures look like more successful/ higher quality pieces of work. The purpose of this harsh editing is more supposed to be used on images of natural landscapes. This is because this editing looks very drastic and unnatural, and changing images of natural objects in a unnatural way is a microcosm of the human impact on natural life. This is important for my project as these small bits of editing relate to a bigger and much more serious topic; Anthropocene. Which greatly affects out world today, and will one day affect how we live and the limits we have to exist in.

For example, this image relates to my paragraph above, this is both a human and a natural structure, as it has been unused for many years and now natural has reclaimed its place at this location, with all of the plants/ ivy growing back where it used to be. This sequence above demonstrates how these photographs still have their original quality, the colour editing only adds a message about the consequences that human life has had on the environment.

In my opinion, this editing does look better on photographs of industrial landscapes rather than natural landscapes, however, the purpose and message behind the editing is more related to natural features and I think that I should stick to this as it relates to my project a lot more.

Overview: I think that this editing is mostly successful, but is only needed with plain images or ones that are too simplistic. I think that busier images with already good editing done to them do not need this kind of drastic editing. Overall, I do think that some people would not understand the premise behind this type of editing when first looking at my work. However, I think that they turned out better than I expected, but not as successful as my photographs/ edits of work from my last Anthropocene project. Besides some downfalls to this work, in my opinion it was worth doing as it allowed me to demonstrate that creativity doesn’t always create high quality and useable outcomes. Furthermore, I don’t think that I will be using these pieces in my photobook as I think that my book will mainly consist of monochromatic images. I still wanted to illustrate how my plain photographs can be changed drastically to better fit the concept of my project.

The plan for this photoshoot is on this blogpost.

This my second attempt at a night photoshoot, this time I took images of a different location and made sure that my camera was in focus before I took the images (after moving the camera).

Part One for this photoshoot is here.

Editing

Contact Sheet

Process

To start with my selection process I used the ‘Pick’ and ‘Reject’ tool to narrow down my image selection to the strongest images, or the images that I can manipulate. As this was a night photoshoot, some of the images were too dark, too blurry or out of focus, so I removed those in favour of the highest quality images.

Next I put a star rating on each image to select which images I think are the absolute best (and will be using in my final print/photobook) and those which I may use in some way at some point.

I next gave each image a colour to show which images I will, might and won’t use in my photobook.

This is my selection of final images I will 100% use in my photobook:

Final Edited Images:

I have made four versions of this image, each with a different colour, I think this will be interesting as a montage on a double page spread:

I have made three black and white images to experiment with how these would look, they turned out better than the black and white images from the first night photoshoot as they have more contrast:

Comparison to Lawrence’s work:

As this was my second attempt at responding to Lawrence’s work, I was still using this (and the image from the last comparison) as inspiration, because of this, I focussed on natural subject matter such as trees and grass. My use of light (specifically the brightness of it) resembles that of Lawrence’s work (however this particular image was rather dark compared to others in the shoot), giving both images a sense of artificiality due to the harsh coloured lighting. The moon during my photoshoot was particularly bright, making the background (the sky) in my images brighter than a normal night shoot, a similar thing can be seen in Lawrence’s image, as the sky has a yellowish light coming from the distance. My images are once again overall darker than Lawrence’s, giving mine a bigger contrast between the light and dark parts of the image compared to Lawrence’s.

Evaluation

I am very happy with the way this photoshoot turned out, it was a direct improvement from my previous attempt at a night photoshoot. My images are not slightly out of focus like the last one as I learned from my mistakes and made sure the images were focussed, so the images look a higher quality. I also think compositionally, the images are stronger and my use of artificial light and colour is far better implemented here. I decided to move to a different location from the last shoot to give my images more variety when it comes to the photobook.

What went well:

As said above, the mistakes I had made in my previous attempt at this shoot were considered during this one, so I did not make those mistakes this time around. As a result, my images are more in-focus, making them more appropriate for use in a photobook, as well as just giving them an overall better quality. My use of light was better in this shoot as well, in the previous photoshoot my exposure times were up to four minutes, this was due to my camera settings not being 100% correct, however this time they were better, which cut the time down to a max of 30 seconds.

How I can improve:

I possibly could have photographed more things to give the shoot a better sense of variety, perhaps next time I could photograph things other than trees and grass. I also could have used more colours when taking the images, as I gravitated towards mainly red, blue, pink and purple.

How does Laura Pannack and Phil Knott explore a sense of realism in youth culture?

Many teenagers around Jersey seem to complain about having little to do on the island. My project is to portray the youth culture of Jersey through capturing day-to-day life. Photographers explore the topic of youth by capturing ordinary lives of young adults like myself through the eye of a lens. Laura Pannack draws an audience to her work by displaying true similarities of teenagers and her photographs which help older generations understand how a teenager lives their life. She aims to photograph young adults who are less fortunate to show their true meaning in life, whereas Phil Knott photographs youths with a slightly similar culture to my own by capturing ‘typical teenager’ activities such as, skateboarding and racing mopeds. Both of my chosen artists relate to the photographic topic of realism through the way their images depict things as they are, without idealising or making abstract. I have chosen to explore these artists specifically because of their non-conventional approaches, taking a closer perspective of the individuals personal life. By being able to capture these perspectives of individuals in a similar way to these chosen artists will allow me to develop a further understanding of how fellow teenagers live a similar life, yet different in many aspects compared to mine.

Looking at both of my chosen artists, the realism movement seems to have an influence towards their photographic styles. Realism in photography emerged in the early 20th century with the work of Paul Strand who photographed streets in New York that he referred to as ‘straight photography’. Straight photography was a reaction against Pictorialism where photographers aimed to make pictures that were ‘photographic’ rather than ‘painterly’. Photographers tried to visualise the image before taking the photo and included, sharp focus, rich detail and high contrast to produce images of reality. This movement further lead to the idea of Realism in photography where artists desired to portray lower and middle class as the way they were in reality, creating the belief of importance to view the world more realistically. The Realism movement began during the early 1920s due to photographers being rather concerned with how images can be manipulated to portray different ideas to the viewers. During the movement, photographers created artworks that were as realistic as possible which lead to many artists making a name for themselves such as Walker Evans. Evans was one of the most influential artists of the 20th century and has a ‘realistic’ approach to the photos he is documenting. He took up photography during the year of 1928, stating that he was influenced by Eugène Atget and August Sander. Walker Evans’ early photographs reveal the influence of European modernism, specifically its formalism and emphasis on dynamic graphic structures. However, he gradually moved away from this aesthetic style to develop his own and more reticent notion of realism. Between 1938 and 1941, Evans produced a remarkable series of portraits in the New York City subway documenting everyday life for citizens of New York, which led on to be one of his most influential series. Walker Evans made fellow Americans see The United States through the eyes of poverty by introducing a new style of photography to document individuals of middle and lower class.

This image from Walker Evans’, subway series, gives the viewer a sense of realism, due to these people having no knowledge of the camera in front of them . With a 35mm Contax strapped to his chest, with the lens peaking out between two buttons of his winter coat, Evans was able to capture his fellow passengers surreptitiously and at close range. Although the setting was public, he found that his subjects, un-posed and lost in their thoughts with a constant change of moods and expressions-by turns bored, amused, curious, dreamy, cloudy or even upset. Documentary photography can be argued as a reliable source of information, as an individual can learn many things just by looking at an image. These images from Walker Evans’ subway series document and inform viewers about how different the 1900s were especially for individuals of a lower class.

Laura Pannack is a London based photographic artist who is renowned for her portraiture and social documentary work and seeks to explore the complex relationship between the photographer and the subject. Pannack was the first artist I chose due to her distinctive methods of portraying these teens by framing them against their social and cultural background often using narrow depth of field in her portraits. Her artwork has received much acclaim and has been awarded with multiple awards for her work. Pannack seeks to fully understand the lives of those she captures on her camera in order to portray them as truthfully and possible. She says that the culture of these teens often inspire her to take photos, “the strength of naivety and sense of invincibility and wonder inspires me. I like the honesty of young people, the lack of pretence, and most of all they are just great fun.” (Pannack 2020). Pannack says that she is careful when she chooses to approach her subjects, keeping in mind what their reaction to her might be. For her, “The ultimate mistake is when I overthink an approach. I select people on instinct. I try to think what I need to say to make sure they are interested, can trust me, and feel comfortable.” (Pannack 2020). I will be exploring Pannack’s project of Island Symmetries focusing on her overall development of youth culture. Her photo series ‘Island Symmetries’ (2020) captures nostalgic imagery that focuses on the friendships formed in a small community on wasteland called ‘The Cracker’ that stands between two estates – ‘Tibby’ and ‘The lost city’. Keeping her focus tight Pannack positions herself at the key meeting place where young people would flock to socialize. The Cracker in Tipton and Topside in Gagebrook. ‘Tibby’; is a cul-de-sac of residential houses that curls around a small playground with ‘The Cracker’ being an open space of rolling grass lined with blackberries and stinging nettles. Pannack states that, ‘Motorbikes, peds and quads bark loudly every day and at all times.’ She captures these troubled teens in a unique way by trying to include an aesthetic landscape throughout most of her teenage portraitures.

This image from Laura Pannacks ‘Island Symmetries’ project displays a lot of meaning to the viewer as you wouldn’t expect a child of his age to be displayed as such. The subject is holding a cigarette which is usually classed as an item aimed at adults, with a lollypop which is a typical element of a young persons childhood. These two items portray a completely different meaning that the subject is still a child but expresses himself in a much more mature way compared to his age. He is shown with a black and blood-red eye, expecting he has been involved in a fight, further proving the kid is more mature than typical kids his age. Pannack aims to involve some sort of aesthetic background in each of her portraits which keeps a ‘photographic’ sense to her images. An image of such varies compared to one of Phil Knotts portraits in the way that Pannack organises her portraits to make the subject pose for the shot instead of taking the image without anyone’s knowledge. This image can be compared to one of Sally Mann’s most iconic images, ‘Candy Cigarette’, where a young girl seems to be holding what looks like a cigarette when in reality it is candy. Sally Manns image is taken in a much similar way to Pannacks in the way the subject is positioned and how the background is out of focus. Both subjects are looking directly into the lens whilst striking a similar pose, holding the supposed cigarette in the same position.

Phil Knott, who is a multinational artist who photographs kids from London to LA, all in a similar portraiture style to present the teens in full detail. Knott grew up around scooter culture and has always been drawn to this specific topic. He became most well known for his portrait photography and his ability to give us a completely unobstructed insight into an individual. Phil Knott grew up with a similar culture to his subjects stating that, “I drove a scooter and they were all around me and where I used to live was like a f****** racetrack.” (Knott 2022). This made him able to understand the culture of the subjects much deeper, which makes him taking these photos a lot more meaningful. He captures youths through a range of photographical approaches by either staging the subject or taking photos of them without their knowledge, which creates a true sense of realism towards the viewers. Knott believe the actions of these teens are ‘harmless’ and ‘rebellious’ and stated that it is ‘quite lovely’ to see these teens being ‘silly’, he states.

Here is one of Phil Knotts most famous portraits of multiple children performing typical teenager acts. Knott has set up the camera in an anonymous position to the teens capturing what seems to be a moped meet-up of at least 4 different teens. The teens involved all seems to show something a typical teenager may carry. As you can see, two of the subjects are holding a cigarette or a rollie which is heavily linked to underage children like themselves. This creates a great sense of realism towards the photograph due to the subjects having no knowledge of the sudden image Knott has taken. However, the ‘unprofessional ‘ qualities add much needed character to the shot, making the image seen as if one of the subjects has quickly pulled out their phone and snapped a quick photo. This images shows what boys of this culture usually get up to also whilst keeping some sort of personal feel to the shot.

Laura Pannack and Phil Knott’s work is similar in many ways, however their art differs when it comes to their photographic approaches. Knott captures his subjects using a method of snapshot aesthetic. Snapshot aesthetic is an approach used by influential photographers such as, Lee Friedlander and Garry Winogrand. The photographic style typically features everyday subject matter and off-centred framing which heavily relates to Phil Knotts set of images. As you can see in the image above, no staged positioning has been utilised making the image seem as if Knott has pulled out his phone and snapped a quick photo.

Conclusion:

Overall, these two artists I have explored showcase the idea of youth culture and teenage lifestyle throughout their respective work and projects. Laura Pannack and Phil Knott both capture the youths in detail, they accurately photograph what the children get up to on a day to day basis. The main similarities between both photographers, is that they both fully understand how to photograph the subjects to create meaning towards the viewer. Both of the photographers images make the viewer think and almost create a background story of the image. However, the main difference between both photographers is their photographic approach. For example, when taking a look at Laura Pannacks images it is clear to understand that she stages her photos by making the subject somewhat ‘pose’ to capture in full detail, with Phil Knotts images being taken without the knowledge of the people he photographs.

With Laura Pannack only photographing her subjects in a portraiture approach, it narrows down the sense of realism in her photos. It can remove visual distractions from the background by removing visible scenery to make the image more simplistic. Without including anything other than the subject in her images can make it easier to understand the camera techniques such as positioning, lighting and focus. Most of her youth culture images display an out of focus background which makes the viewer only focus on the subject, which I believe was the aim of Pannacks project of ‘Island Symmetries’.

However, Phil Knott takes a slightly different approach compared to Pannack. This photographic style Knott uses does create a much more visible effect of realism. This is because of how Phil Knott mainly aims to photograph the youths without them knowing he his taking a photograph, to try and capture them with full understanding. This approach is a much more practical way of photographing in an authentic way as it gives a lot more information about the subject, which Laura Pannacks method may not provide.

Bibliography:

https://independent-photo.com/news/laura-pannack/#:~:text=The%20strength%20of%20naievity%20and,they%20are%20just%20great%20fun.%E2%80%9D

https://www.philknott.com/

https://www.wikiwand.com/en/Laura_Pannack

Photoshoot Plans: For these photoshoots I am planning to go to La Marais flats in St Clement, and them take some images of the surrounding estates. This is so that I can show how not all people that have impacted the planet live the same lives or have the same possessions, and that some individuals have had a lesser impact on our environment. Like the other photoshoots, I will be using the school camera and I hope that I can create the best outcomes possible from walking through these areas. These photoshoots will attempt to recreate the work of Lewis Baltz, as I have done of research in his life and work and now have become inspired by his work.

Contact Sheets

Photoshoot Overview: These photos are mostly successful, some of the images from walking around St Clement housing are fuzzy but I still think that if I wanted use them they could be altered in photoshop. Overall, I think that my images of La Marais are a lot better and can be related to my project more thoroughly.

Image Selection

In order to begin my image selection process, I went through all of my images and rated them with stars, this ensures that I can later filter out of my unsuccessful and only focus on the ones I have rated 5 stars. The next step to this process is using a colour coding scheme which helps me determine which images out of my strongest images have the most relevance to my project and are of the best quality. I have also used a star rating system followed by a colour coding system to show my better photographs.

• Purple- images with most potential
• Blue- images that could be used
• Pink- images with least potential

Best Images Before Editing

Below I have created a gallery to illustrate my images with the most potential, as I believe that these images do not need a lot of editing and are high quality without adapting the ‘clarity’ and ‘dehaze’ settings in Lightroom Classic. I would like to use these images in my photobook as they highly reflect the work of Lewis Baltz, as this infrastructure is some similar the buildings present in his work. I think that I have done well in taking accurate inspiration from his work and then being able to create photographs like his with Jersey’s structures.

Editing

I have created a gallery to demonstrate the different ways in which I have edited my images, this also shows that not every photo needs a lot of adjustments/ changes to them. I found that the case with so many of my images from this photoshoot as the images had good levels of clarity and exposure so not much needed to be adjusted, the next step is to make sure that this level of clarity is maintained when I now convert my images to black and white.

I have chosen to edit all of these images in black and white and in my opinion this makes my photographs more successful, this is because this editing seems to increase the clarity of the images, despite this not being true I think that my photographs occur to be more like Lewis Baltz’s work when they have been edited and this is vital when it comes to creating marks for this project.

Final Images and Evaluation/ Critique

This section will include all of my final images from this photoshoot, this demonstrates that exploring around La Marais was successful when in regards to creating new images for my photobook. The most important aspect of this photoshoot is the fact that I am responding to Lewis Baltz very accurately and now create strong comparisons to his work and how they have influenced my thinking throughout my photoshoots.

I have selected this as my last final image as I think this is the photograph that best reflects Lewis Baltz’s work, this is because the angle of the image is much like some of his work. Additionally, I think that the editing of this image is much like that of his images, and the clarity of this image demonstrates that I have really considered the outcome of this image before it was taken, I believe that this has great potential throughout my project, as it could be arranged in a group of photos only inspired by Baltz. The composition of this images is very important as it creates contrast within the image, there is lots of area for shadows, areas with large blank areas of white, and then the thin amount of concrete in the foreground means that there is a lot of areas of black. This contrast with the stark white above and means that the photograph becomes more successful as they more appealing to look at. I could be analysed that some areas of this piece are distracting, with the peak/ corner of the building not being in the centre of the image, meaning that it could be less aesthetic. Also with the singular window in the top right corner not really matching with the rest of the photograph.

This photograph is one of my favourite shots from my La Marais shoot, this is why I have chosen it to be featured in my final images collection. In my opinion, this image is one which is very striking, with the composition of this image being its strongest feature. The fact that the windows are so close to the lens of the camera means that they can be in good focus, creating this high quality images. I really like the fact that a reflection can be seen on all the windows on the left hand side as you can see the clarity of the sky in this reflection. All of the parallel lines in the windows, as the high contrast was created by increasing the ‘blacks’ and ‘whites’ settings that are found when editing in Lightroom, means that the photograph has been made more successful. However, I could be interpreted that not a lot of consideration was put into the composition of this image, as the overall concept of this shoot was simple and the layout of this image was last minute and the influence of Lewis Baltz wasn’t really put into consideration when taking this image, and I think this is obvious as it can’t closely be related to his work.

This photograph was taken at the base of one of La Marais’ flats, with all of these objects being carelessly dumbed at the bottom of this block of flats. The composition of this image is mostly minimal, with their being lots of blank space of white wall in the background and the tipped objects in the foreground. This image best demonstrates Anthropocene as it shows the carelessness that people have when it comes to discarding rubbish in an unsustainable way, as the furniture could of been resold and therefore could of been used again instead of adding to Jersey’s waste. I think that the lack of objects to look at throughout this image means that people have to pay attention to parts of our environments that are not so beautiful, and makes humans realise that not everything we are surrounded by is as good as it may seem.

I have selected this as my last final image, as I think despite it not being my most successful out of my whole photoshoot, it best reflects the more accurate in between of recreating Baltz’s work, and my photoshoots reacting to the theme of Anthropocene. So in that respect this could be said to be my most successful image. However, overall I think that this photograph is not that interesting, as the components and composition isn’t very eyecathing at all. There aren’t aesthetic aspects to analyse in this piece, or any that would catch people’s attention. If I were to go back and retake this image I would get a high or low angle in an attempt to create a piece that is more visually interesting and could be used to other parts of my project such as my vital gallery. I think that the plants in the pot get lost as the black fence is behind the, as everything is the same tones it means its hard for a background and foreground to be determined throughout the middle section of the photograph.