Below I have started focusing on looking through all of my images and making decisions on whether or not they will be used in my project, I have created and explained a visual system that will help me make better decisions about my photographs, the colours and ratings also help compare the usefulness of my images.
Colour Coding System:
Purple- images with high relevance and high quality
Green- images with high relevance to my project but have low quality
Yellow- images that didn’t turn out as well as expected but could still be used
Red- images that will not be being used in my project
Furthermore, the star rating system helps when judging one photograph in comparison with another, weighing up how aesthetic these images are and not just about how relate to my project. I think that these systems combine help with editing as well, as I don’t need to look through all of my photographs before editing.
I have created this selection of 6 photographs as I think they are the best from the shoots and have a lot of potential within my project, I think its important to include examples of some of my best work with some of my work which could do with a lot of improving in order to keep learning what works and what doesn’t in photography. Furthermore, I think these images work well as a set, of course they were taken at the same locations but they all link to my theme of consumption.
Here I have included some examples of my best and worst images from my second photoshoot, I have used the same system as before however I don’t have as many images to give examples on. I think that the number of potential final images in this photoshoot was far less but they will still be used in my final piece. Furthermore, these images link to my theme of overpopulation and these are photographs are of good quality.
ImageSub-selection
Below I have included some of my best images so far, this is before editing and is part of my sub selection process and they have the most potential to be used in my project. I think this is an important part of the process before editing and it allows for a faster editing process as the focus is already on the better images.
Here I have included some contact sheets from my first photoshoot, I had over 400 images to put into the correct collection and these are just the screenshots so that an overview of my photoshoot can be visualised, this area of the recycling centre and the incinerator had a wide variety of photoshoot opportunities so I left with a wide range of interesting images.
I have included these three closer up sections because I think they are strong points in my photoshoots and some many even turn into my final images. These images have some of the most potential and their legibility elevates the quality.
Assessment of Photoshoot
I think that this photoshoot was the best out of the two, I have a good range of images from this shoot and I think for the most part, the lighting was accurate on both the inside and the outside photoshoots, making the next editing processes easier. Furthermore, I think that gaining inside access to the recycling centre allowed me to take better photographs and this is especially obvious in some of my more abstract images. The photographs taken from the outside did turn out better because I had my camera on the correct manual settings for this.
Photoshoot 2
Below I have included some contact sheets from my second photoshoot, I didn’t have as many photographs from this shoot but I think that they can still be put to good and relevant use throughout my project. I have included closer up sections of the contact sheets so that the variety of images can be viewed easier.
These images were taken from the highest point during the photoshoot, giving the best view of the population and this will aid in linking to my project.
Assessment of Photoshoot
I think this photoshoot only had limited success as I wasn’t able to take as many photographs from the Fort Regent location. However, I do still think I have some useable images but in contrast to the other shoot I don’t have as much creative freedom with these images. I think the best part was the day of my photoshoot, it was a clear and sunny day which created high quality legible photographs.
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.
Burtynsky
His work
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
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
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.”
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.
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.
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.
Gohlke
His work
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
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)
Overpopulation: is the concept of a human population becoming too large to be sustained by its environment or resources in the long term. The idea is usually discussed in the context of world population, though it may also concern regions. These two factors are related as high birth rates and population growth result in higher levels of consumption of resources (all other things being equal), which can have a negative effect on social, and especially sustainable development.
Overconsumption: describes a situation where the use of a renewable natural resource exceeds its capacity to regenerate. A prolonged pattern of overconsumption leads to the eventual loss of resource bases. The term overconsumption is quite controversial in use and does not necessarily have a single unifying definition. Overconsumption worsens climate breakdown and increases air pollution. It exhausts the planet’s life support systems like the ones that provide us with fresh water, and leaves us short of materials critical to our health and quality of life.
I will be exploring how the increasing human population affects the earth, more going into the concept of how our raw materials are decreasing. With the climate changing due to global warming caused by the ‘human virus’ I will attempt to illustrate the ways in which man has changed the earth with each new life. This is a very current issue and I think that he should be addressed more in the photography world.
Additionally. I will be taking images in factories to demonstrate how much raw materials the human population uses, but also i will be demonstrating how some materials get recycled when I go down to the recycling centre, this is to show the positive side of Anthropocene.
Collage work
Collage describes both the technique and the resulting work of art in which pieces of paper, photographs, fabric and other ephemera are arranged and stuck down onto a supporting surface.
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. The Anthropocene is a new, present day epoch, in which scientists say we have significantly altered the Earth through human activity. These changes include global warming, habitat loss, changes in the chemical composition of the atmosphere, oceans and soil, and animal extinctions.
HoloceneAccording to the International Union of Geological Sciences (IUGS), the professional organisation in charge of defining Earth’s time scale, we are officially in the Holocene (“entirely recent”) epoch, which began 11,700 years ago after the last major ice age.
Mood Board
Even more people suggest it dawned in 1950, when nuclear weapons cast radioactive elements across the globe. The radioactive debris from nuclear bombs made its way into rocks, trees and the atmosphere – they may represent the golden spike that scientists are searching for. Currently there is no clear consensus. It is important to note that some countries, regions, communities and industries have contributed to planetary pollution and climate change more than others. Industrialised and post-industrial societies have produced proportionally more emissions and use more resources than developing countries.
How can this be explored through photography?
Studio Work
Objects can be collected from natural locations such as the beach and can be arranged and photographed in ways that reflect that natural beauty, this can be done with objects such as shells or pearls. In contrast, studio work could also help illustrate how harmful objects such as plastics are on our environment and marine life.
Objects
Linking to the studio work, we can take objects associated with anthropocene, such as plastic bags and paper straws, this work can be used in the project and related to places that link to anthropocene.
Bags
Straws
Fossil
Multi-exposure Editing
This method of editing includes choosing two or more images and merging them together to create a new image. to relate to the topic of Anthropocene contrasting images such as an industrial landscape (for example a warehouse) and a natural one (such as mountains) and merge them together to show how much manmade alterations how effected the planet.
Industrial Structures
One of my main ideas at the moment for the way in which this topic can be approached would be to to photo some of Jersey’s main industrial areas around La Collette. I think that this shows how Jersey has become more developed, but still recycles a lot of its waste, so this would be a contrasting idea in itself.
Natural Landscapes
I think that rather then focusing on how humans have changed the landscape, for this project the focus on could be preserving the natural landscapes, photographing them to illustrate how man hasn’t ruined the planet and looking for the positives through anthropocene.
Below I have created a gallery with lots of similar images in, I think that this layout makes my images look more aesthetic and proves they can be linked together, these four may also being used in a typology or grid format as they all match together very well and in my opinion they are the best from all of my photoshoots. The main strengths of these final images is the composition and they angle at which all of them are taken at, as during this photoshoot I had hundreds of similar photographs at different angles. By making them monochromatic and putting the contrast up very far the images are made more interesting and the symmetry pf the manmade landscape is made more clear.
I have had to adapt the angle of some of these images, along with cropping them I have edited the highlights to made the sun hitting the buildings brighter, and changed the tones so that the sky is darker then the structures themselves. Furthermore, the bottom image is my favourite as the perspective creates symmetry and I think the sky still being in the photo creates contrast between the strong shapes in the building and the lack of detail in the background.
I have selected this image above as another one of my final pieces as I think the building instead makes for a bold focal point, the blue tones in the windows match with the pale blue sky and makes the photograph more cohesive. In addition, the composition of the image makes it stronger as the building is the focal point but the other aspects such as the underneath of another building (which is the triangle yellow section in the top left) and the bird in the top right mean that the image is less generic and stands out from my other pieces, I also don’t think these aspects make the image weaker, they just add to it.
This image was taken next to La Mare slipway and is linked in with my photoshoot of the apartments in that area, I think the main parts that I like about this image are the composition and the lightning, as this was taken during the late afternoon just before “golden hour”. The fact that the tops of the houses are all in line makes the image more aesthetic, and by increasing the saturation it actually ended up making the sky more grainy, but I think the end photograph was still a success, with the blue glass on the glass balconies matching with the colour of the sky. This illustrates the concept of industrial landscapes as it shows manmade structures in contrast with the natural sky.
This image was taken during my second photoshoot taken around some fields in St Saviours, I really liked the view from these fields and I think that these images best demonstrate the industrial landscapes project, this is because there are many natural aspects such as trees, grass and hills. This contrasts with the buildings, such as houses and the La Mare flats, as these flats really stand out against the other aspects of the image. I also think the composition of the photograph, with half of it being land and half being sky, means that the juxtaposition between manmade and natural landscapes is even, meaning it fits with this project the most.
I have selected this image above as on of my final ones and in my opinion this image demonstrates the positives of manmade landscapes, as its showing off the good parts of human life, being housing which everybody needs, Along with these houses being aesthetically pleasing, I think that the angle and composition of this images makes it one of my best, even as the colours in this photograph match well, as the blues and greens throughout give the image a cooler tone, but the higher saturation of the image and the yellow house on the left makes the image more neutral.
This image is the only black and white photograph that would be displayed by itself, it was taken just along from Havre Des Pas and being edited in this way makes apartments in this photograph stand out more, as the parallel line and windows, which can only be created by man, become a lot more apparent and highlight the concept of this project very well. I made the exposure of the image lower, along with the shadows and drastic contrast, this was the final product.
Keld Helmer-Petersen is one of the most influential Danish photographers in the 20th Century. He was an international pioneer in colour photography and was a central figure in not only Danish but also European modernist photography. His career spanned 70 years and he had strong interest in modern architecture, industrial areas and structures. He was very prolific and continuously experimented and challenged the many possibilities of the photographic image.
His efforts have put a mark on photography as an artistic expression. With his keen eye for things that are generally overlooked, Keld Helmer-Petersen opened a door to the hidden beauty of a world, we thought we knew so well.
Keld Helmer- Peterson
His work
From the 1970s, Helmer-Petersen was preoccupied with the figurative potential in found objects. Like Irving Penn (and at the same time), Helmer-Petersen walked sidewalks, head down, making discoveries among the windswept and downtrodden street refuse. This resulted in works such as the series Deformationer.
Helmer-Petersen’s approach to photography was by and large experimental and explorative. Again and again, he worked on the borders of what we normally consider to be photography. Among other things, throughout his career he worked with “cameraless” photography, the photogram (a darkroom technique in which objects are placed directly on light-sensitive photographic paper). His curiosity about pushing the limits of the media was expressed in several experimental short films, including Copenhagen Boogie from 1949.
My Examples
Below I have included my images edited in the same style of Keld Helmer-Peterson’s, I think that this way of editing works well with images that have many bold lines and larger shapes, I found that some of my images didn’t have these features so editing in this way was challenging but overall a success.
Process: After selecting images to open up on Photoshop, I changed the images to black and white at first, then clicked on the Threshold setting where a gage appeared that allowed this setting to e changed up and down, to get the perfect final product there needed to be a good balance between having a plain background and detail in objects and textures in the foreground.
Below I have gone through and selected the best of my images, I have demonstrated all three of my photoshoots through these separate contact sheets, I have also included the plans above the contact sheets so the layout is clear.
Photoshoot 1: was based around the harbour and along the avenue, the aim of doing this photoshoot at night was so that I could change the shutter speed to create interesting lines of light throughout my photos, and so that industrial buildings could be contrasted with their light sources.
Photoshoot 2: My second photoshoot was based in the fields around my house, these potato fields made for good places to photoshoot as theres is a contrast between natural landscape and manmade housing. I took these photographs during the late afternoon in an attempt to get more golden lighting.
Photoshoot 3: This photoshoot was based in and around La Mare flats in St Clement, I think that this gave me a good opportunity to photograph industrial landscapes and this links in very well with The New Topographic project. All of the straight lines and symmetry in these images make them more aesthetic.
Final Collection
Here I have created a quick collection of some of my best images from my photoshoots, I think i will add to this when editing and picking my final images but these have the most potential.
Editing
Below I have edited some of the best images from my created collection, and I have screen shotted parts of Lightroom to show how the images have been edited. In the develop section I have shown the before and after editing so the process I have gone through to change these images is clear. I have decided despite sticking to the romanticism theme I am not going to edit all my images to monochromatic, as I think that the colour and lighting in some of these photographs only needs to be enhanced.
More Images
Here I have included some more of my good images, as I think that they should be shown on my blog but they do not need editing unless they are changed to black and white as one of my final images. This gallery is to show more of my work from all three of my photoshoots.
Lewis Baltz (September 12, 1945 – November 22, 2014) was a visual artist and photographer who became an important figure in the New Topographic movement of the late 1970s. His work has been published in a number of books, presented in numerous exhibitions, and appeared in museums such as the Museum of Modern Art.
Born in Newport Beach, California, Baltz graduated with a BFA in Fine Arts from San Francisco Art Institute in 1969 and held a Master of Fine Arts degree from Claremont Graduate School. He received several scholarships and awards including a scholarship from the National Endowment For the Arts (1973, 1977), the John Simon Guggenheim Memorial Fellowship (1977).
Lewis Baltz
His work
His books and exhibitions, his “topographic work”, such as The New Industrial Parks, Nevada, San Quentin Point, Candlestick Point (84 photographs documenting a public space near Candlestick Park, ruined by natural detritus and human intervention), expose the crisis of technology and define both objectivity and the role of the artist in photographs.
His work is focused on searching for beauty in desolation and destruction. Baltz’s images describe the architecture of the human landscape: offices, factories and parking lots. His pictures are the reflection of control, power, and influenced by and over human beings. His minimalistic photographs in the trilogy Ronde de Nuit, Docile Bodies, and Politics of Bacteria, picture the void of the other.
What I like about his work: I think that the simpleness of his work makes him more memorable and along with the monochromatic photography, this makes more unique pieces. I also like that for this time this type of photography was to demonstrate the affects of mankind on the natural environment and his work demonstrates this well as the builders are the main focal point of the images.
Image Analysis
I have selected this image to analyse as I think the overall composition of the image is one of its main strengths, as it means that the silhouette of the mountain is the background of the image and that the main houses in the front create a focal point for the image. Furthermore, I think the lighting of this image brings and all of its features and makes it more cohesive as the lighting from under the roof trim of the house means that strong shadows are created, as the brightness of the lighting in the sky creates contrast between it and the outline of the mountains.
Additionally, I think that the clarity of the image makes it stand out more as the details in the brickwork of the building and even the blinds in the windows creates contrast. This is shown as theres lots of details within the foreground of the photograph and this lack in the background, however this is not a negative as it demonstrates the rule of thirds, as the pavement, housing and mountains/ skyline and very clearly separated in this piece. It’s also important to note how important the different shapes and lines are within this image, as the vertical lines contradicts with the horizon created but the mountain, and the squares and rectangles contrast with the smooth natural landscape. This is a good example of The New Topographic’s work as their is a manmade contrast created with the lighting in this image, as a somewhat natural contrast between the housing and landscape further away in the image.
Many of the photographers associated with new topographic including Robert Adams, Lewis Baltz, Nicholas Nixon and Bernd and Hiller Becher, were inspired by the man-made, selecting subject matter that was matter of fact.
A turning point in the history of photography, the 1975 exhibition New Topographic signalled a radical shift away from traditional depictions of landscape. With its stark yet oddly romantic images of American factories, intersections and trailer parks, William Jenkins’s 1975 exhibition rewrote the rules of landscape photography.
An exhibition at the International Museum of Photography in Rochester, New York featuring these photographers also revealed the growing unease about how the natural landscape was being eroded by industrial development.
On the one hand, New Topographic represented a radical shift by redefining the subject of landscape photography as the built (as opposed to the natural) environment. To comprehend the significance of this, it helps to consider the type of imagery that previously dominated the genre in the United States.
What the new topographic a reaction to?
Their stark, beautifully printed images of this mundane but oddly fascinating topography was both a reflection of the increasingly suburbanised world around them, and a reaction to the tyranny of idealised landscape photography that elevated the natural and the elemental.
Typologies
A photographic typology is a single photograph or more commonly a body of photographic work, that shares a high level of consistency. This consistency is usually found within the subjects, environment, photographic process, and presentation or direction of the subject.
Definition- 1 : study of or analysis or classification based on types or categories. 2 : a doctrine of theological types especially : one holding that things in Christian belief are prefigured or symbolised by things in the Old Testament. Other Words from typology Example Sentences Learn More About typology. The photographic typology has the ability to reshape perception, heighten and focus attention, and transform everyday objects into a thing of art. Ironically the process and execution, often cold and systematic can be extremely emotive, and a powerful tool of communication when contextualised.
Bernd and Hilla Becher
Who created typology in photography? The German artists Bernd and Hilla Becher, who began working together in 1959 and married in 1961, are best known for their “typologies”—grids of black-and-white photographs of variant examples of a single type of industrial structure.
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.
Name: Water Towers
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.
I like how these objects are placed how normal passport photos, this along with the black and white images gives the image an old fashion feel despite it not being very old at all. This gives the image depth and authenticity and I think that the contrast between the different shapes makes the image more interesting, You can also notice that the more cylinder shapes are symmetrical to each other with the forth and sixth images being simirla to each other, and the same goes for the first, third, seventh and last image.
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 eac other creates depth to the image.
