Rural landscape describes the diverse portion of the nation’s land area not densely populated or intensively developed, and not set aside for preservation in a natural state.
Jersey Rural Areas
Areas in Jersey such as lanes, fields, woods and coastal areas.
Possible Triptych prints relating to Ansel Adams
Image Analysis
Technical
Lighting: Natural/daylight/soft
Aperture: 18-55 mm f/4-5.6 IS STM lens
Visual
Colour: Monochrome
Tone: Light tones in the sea (IX) /dark tones in the vegetation on the cliffs (III)
Texture: Textured background/ Smooth foreground
Composition
Leading eye: drawn to the wispy effect/contrasted coastal area
Contrast: Cliff area highly contrasted
Technical
Lighting: Natural/daylight/soft
Aperture: 18-55 mm f/4-5.6 IS STM lens
Visual
Colour: Monochrome
Tone: Light tones in the sea (IX)/dark tones in the cave (0)
Texture: Textured background/ smooth foreground
Composition
Leading eye: drawn to the wispy effect/the dark tones of the cave
Contrast: Rock highly contrasted
Technical
Lighting: Natural/daylight/soft
Aperture: 18-55 mm f/4-5.6 IS STM lens
Visual
Colour: Monochrome
Tone: Light tones in the sea (VIII)/dark tones in the cliff area (IV)
Texture: Textured background/ Smooth foreground
Composition
Leading eye: drawn to the wispy effect/contrasted coastal area
Comparative analysis with an image by Ansel Adams
Similarities: Composition, layout, arrangement, use of the zone system, background, natural lighting
Differences: Range of tones, foreground, Kodak Brownie/Canon EOS 800D
for my photoshoot I am planning to go to corbiere light how to take photos of the scenery around it however i do not want want to take photos of the lighthouse as i feel photos of the corbiere lighthouse are too common and there is never anything unique about them.
i am planning to use low exposure to give the illusion that the water is misty while travelling across the rocky scenery
During editing these photos I tried to make the cracks in the rocks more prominent and sharper to the eyes, while also trying to highlight the white foam in the waves crashing against the rocks. I first had to level my images due to the fact that the horizon of the sea and sky was slightly diagonal. Due to the weather on this day, rainy and windy, the clouds had turned into fog, which creates a muted sky with minimal definition of clouds. However you can see a significance change from the original to the final outcome of the editing. In Lightroom classic a decreased the exposure and increased the contract to create the darker shades of blacks and greys. I also decreased the highlights and increased the texture to show the detailed cracks in the rocks and the tiny details of the sparks of water in the foam of the waves to create a more defined image.
My images were mostly taken in the L’etacq area on a fairly cloudy afternoon. I don’t like the majority of these images however as unfortunately my ISO was too high resulting in an extreme lack of resolution. I will also include some images I have taken in other instances that respond well to this objective.
Who was he:
John Constable was an English artist who painted different landscapes in the romanticism era, focusing on the Suffolk countryside. He believed that painting was another word for feeling meaning that he was very passionate about painting and it was what he loved. John made some very famous paintings which were mainly sold in France when it was embraced over there. His work was also an inspiration to the Barbizon school. Within John’s work he included different styles such as freshness of light and touch of colour. His paintings had the aim to capture the ordinary life in that time period of farming, wild landscapes etc.
About the image:
In the image you can see there is some buildings which belonged to the people who the man in the photo worked for. This kind of work was very common int hose days, where most people worked for richer people, doing their jobs such as keeping their houses/ gardens in top condition etc. The painting was awarded a gold medal by Charles X at the Paris salon. It was later donated to the National Gallery in 1886.