Henri Cartier-Bresson

Henri Cartier-Bresson (1908-2004) was a French photographer whose work is regarded as some of the most influential and revolutionary in history. He was the author of The Decisive Moment, a publication that influenced an abundance of famous photographers across the centuries, including Robert Capa and Steve McCurry.

In 1940, he was taken prisoner by the Germans but escaped in 1943. The next year, he participated in an underground French photography project which sought to photograph the German occupation and retreat. In 1945, he made a film called Le Retour for the US Office of War Information which explored the return of prisoners of war to France.

After forming Magnum, Cartier-Bresson began to focus more and more on reportage photography, travelling to India, China, Indonesia and Egypt across the next three years. He devoted his later years to painting and drawing, as he felt that his medium (still imagery) was ultimately being superseded by television. He ‘abandoned his trademark Leica 35mm rangefinder camera in the 1970s to take up drawing and painting, declaring: “I have no interest in photography.”’ (https://www.theguardian.com/artanddesign/2022/oct/21/henri-cartier-bresson-photographe-new-edition-french-photographer)

Criticism

I found an article written by someone only naming themselves as ‘Sebastian’ on the Streetbounty website. The article discusses the author’s struggles to ‘understand’ the ‘pedestal’ that Cartier-Bresson’s work is ‘lifted on’. He states that the images ‘lack the emotional value and are very technical’, mentioning the likelihood that many of them are staged – which would, of course, be entirely contradictory to his philosophy of ‘The Decisive Moment’. Through this, the article dissects the existence of so many interpretations of Cartier-Bresson’s work; that it is over-idolised and placed on an unrealistic pedestal, as well as being hypocritical. The author mentions that ‘[Cartier-Bresson’s] Street Photography doesn’t impress [him], but his documentary work and his work ethic surely do.’ This demonstrates that the author is sure to give credit where it is due and his argument throughout is not an unfounded one as he gives many examples.

(https://streetbounty.com/henri-cartier-bresson-overrated/)

TAMARA LICHTENSTEIN

Tamara Lichtenstein is American photographer originally from Bolivia, who now lives in Texas born in October 1989, Lichtenstein only uses 3 cameras two of which are film cameras which she predominantly uses, a Nikon N80 and Contax T2 and Contax T3, her reasonings behind using film is that she feels the ability to replicate the delicate quality, and just sheer beauty of an image that’s produced in film with the click of a shutter, outweighs any sort of instant gratification. Photography has been natural and easy for her. It’s only the ups and downs of her financial situation that is sometimes problematic. She fell in love with the idea that once you capture something on film, it’s with you forever.

At the center of Tamara’s artistic research we can surely find the female universe and its facets: leafing through her shots we meet faces and bodies without filters, wrapped in their natural beauty. 

The grain and style of analog photography combined with the perfect use of light and the effects of double exposure, a recurring technique in Tamara’s shots, give the photographs a cinematographic style. 

I have chose Tamara Lichtenstein because i find her work captivating and intriguing how her images look so effortless but yet so well planned out, her use of film is inspiring and how she experiments with film by the use of double exposure. The way she constructs femininity in her work is beautiful she shows it in a natural way which suggests positivity.

What’s inspires you creatively and personally?
I always feel really antsy to shoot whenever I’m really sad, or really happy. I get a rush of emotions and along with that comes ideas. Also, shooting with someone that has lots of ideas for us to collaborate with is super inspiring too.

Tamara Lichtenstein uses film cameras today as she believes “The light and colors you can achieve with film are incomparable to digital. I hope film is always easily accessible to photographers out there.”

Tamara Lichtenstein is inspired by Philippe Halsman. Philippe Halsman was born in Riga and began to take photographs in Paris in the 1930s. He opened a portrait studio in Montparnasse in 1934, where he photographed André Gide, Marc Chagall, André Malraux, Le Corbusier and other writers and artists, using an innovative twin-lens reflex camera that he had designed himself.

He arrived in the United States in 1940, just after the fall of France, having obtained an emergency visa through the intervention of Albert Einstein.

In the course of his prolific career in America, Halsman produced reportage and covers for most major American magazines, including a staggering 101 covers for Life magazine. His assignments brought him face-to-face with many of the century’s leading personalities. Lichtenstein believes that In her opinion, his work is what started photography and photographers different ideas have bloomed from his work. Whether they know it or not.

Image Analysis

This image is both naturalistic and abstract due to the reflection and ruffling of the sea from the sunlight which suggests is a natural photo and isn’t staged and then it’s abstract due to the overlapping of the female on the water and how her head is opaque giving the photo a unique look. This photo follows the grid method due to the main object being the girl being placed in the center of the grid, also her shoulders and the reflection of the light all being in the middle column, the audience is drawn into the girls face although she isn’t pulling a post but how her face is so fascinating to look at due to the water reflection is seeping through onto her it gives off a sense that she is reconnecting with nature and the elements. I personally find this image captivating due to the techniques Lichtenstein has used by reusing film twice to get a double exposure photograph as is a unique way ph photography which isn’t seen as often.

• What do you want to explore?

I plan to explore Masculinity, Androgyny and Femininity using the male and female gazes.

• Why does it matter to you?

I personally experiment with gender all the time, as I am fluid within my gender and I feel as though it could be fun to represent my thought process within gender through photography whilst using other people.

• How do you wish to develop your project?

As I said, I experiment with gender and would like to represent this using different people dressed in a “masculine” or “feminine” manner. I have a group of friends who would be willing to dress up and wear makeup to be part of this project.

• When and where do you intend to begin your study?

Most of my shoots will be in a studio, as it’s a controlled condition and I want the people to feel comfortable during the shoot no matter what, my main concern in the sense of the people is making sure that they feel like they can express themselves and have fun while doing it.

Throughout the years, many photographers have experimented with gender in their work and in this project I will only be using a couple of them to help me develop my outcomes. Not only will I be delving into Masculinity & Femininity but also going against typical gender stereotypes that have been around for many years, especially if it was acceptable to do certain things in the past that are now unacceptable or frowned upon by a large group of people.

Using the key work OBSERVE, I will use the male and female gazes to view (observe) each gender from each gaze. Gaze has become a familiar term to describe a particular way of looking at, perceiving and understanding the world, in my project, I will be looking into the voyeuristic gaze which describes how men view women and women view men. I think it will be interesting to see how each gender view both the other and their own in the eyes of everyone else.

In reference to SEEK, I will be asking the people to photograph images of the other people in the group to explore and look for (seek) how they view the genders and gender stereotypes. I will enjoy seeing how everyone views how certain genders should present themselves and show the diversity of ideas in young people.

The final word CHALLENGE will be the most experimental, I would like to delve into gender stereotypes and go against (challenge) them, for example, have someone who would be perceived as “feminine” dress in a “masculine” manner and vice versa. This could be a great opportunity to experiment and have fun with this project as experimenting with gender should be fun.

Overall, I would like my project to be a way to experiment and have fun with gender while also using the voyeuristic gaze to present these images. This project while being fun, will reflect my own view on my gender and gender stereotypes, making this something I feel quite passionate about.

William Eggleston is a renowned American photographer known for his pioneering work in colour photography, his unique approach and use of vibrant colours have had a significant impact on the photography world. Eggleston’s work primarily focuses on capturing everyday scenes and objects, transforming them into visually compelling and thought-provoking images.

“I never think of [a photograph] beforehand. When I get there, something happens and in a split second the pictures emerges.”

– William Eggleston

One of Eggleston’s most notable piece of work is his project titled “The Democratic Forest,” which he started in the late 1970s. This project consists of a vast collection of photographs taken across the United States, showcasing a wide range of subjects such as landscapes, interiors, portraits, and still life. Eggleston’s ability to find beauty in the ordinary and mundane is evident in his photographs, which often depict seemingly cliché subjects in a way that highlights their inherent aesthetic qualities.

Eggleston’s use of colour is a defining characteristic of his work. He embraced the then-unconventional medium of colour photography during a time when black and white photography was considered the standard in the art world. Eggleston’s use of colour was not merely for aesthetic purposes but also served to enhance the narrative and emotional impact of his images. He expertly used colour to evoke a sense of mood, atmosphere, and psychological depth in his photographs.

Another notable aspect of Eggleston’s work is his mastery of composition. He had a keen eye for finding intriguing visual arrangements and used composition to create a sense of balance, tension, and harmony within his images. His photographs often feature strong geometric elements, lines, and perspectives that draw the viewer’s attention and guide them through the scene.

In addition to his technical skills, Eggleston’s work is also characterized by his ability to capture moments that convey a sense of ambiguity and mystery. His photographs often leave room for interpretation and invite viewers to reflect on the layers of meaning within the image. This open-endedness contributes to the enduring impact of his work. His innovative use of colour, attention to composition, and ability to find beauty in the everyday have made him a highly influential figure in contemporary art. His work continues to inspire and challenge photographers and viewers alike, cementing his legacy as one of the most important photographers of our time.

Nancy Honey

Born in America in 1948, Nancy Honey moved to England where she became a mother and raised her children this is when she started her photography journey in a male dominated industry.  Honey focuses on topics such as motherhood, sexuality, power, and ageing. But though they’re framed by her biography, her projects look outwards, depicting and recording everyone from schoolgirls to businesswomen, infants to the elderly, models and bus passengers. As such they create a consistent body of work that’s asked a single question from many different angles – what does it mean to be a woman, now, in this particular time and place?

The question that Nancy Honey asks and questions her work on has intrigued me as a female as I think it’s is a question that many females have questioned and thought upon.

Her work questions and challenges the exam boards topic of observe, seek, and challenge as in one of her projects she spend hears observing her own child crating a project on her growing up and how she changes and grows up, the project also challenges female stereotypes as her child had very short hair and some masculine features, in many of the photographs of when shew was younger she wore gender neutral colours which audiences don’t usually see as when children are young there parent’s tend to dress them in stereotypically gender rolled clothes like pink purple and dresses which isn’t shown in the project a lot when she was younger which emphasises that she hasn’t been conformed into gender stereotypes when she was younger even though she did feminine acts when she was little like applying lipstick.

Nancy Honeys project ‘Daisy’ took 40 years to make, it was shot on film and most of the photos are taken at life events like birthdays and ‘first bra’ the photos also symbolise big feminine moments which happens to all females the project also shows the bond a mother and daughter have and how close and comfortable they are with one and other.

Nancy Honey’s Biography On The Project ‘Daisy’

This is a large collection of pictures I made with my daughter, Daisy over many years. I became fascinated with photographing her as I emerged as a photographic artist. She and I did it together and it was something I greatly enjoyed.

It started when she was a year old and I was just beginning to then use my little black and white camera to document events, more or less as a diary. I was finally beginning to learn about the technical side of photography, which I’d always loved, but had been intimidated by the science. I had always been an artist, but mostly used painting and drawing, having initially studied Fine Art in the USA. After having children I was desperate to complete my education and finished with a degree in Visual Communication at Bath Academy of Art in Wiltshire. I learned about photography there as well as typography and printmaking. I continued to make pictures of Daisy over many years and included her in every project I could. My son, Jesse, declared that making pictures together was boring early on and therefore I made far less which included him. The project, which was never a formal one, just kept evolving. She was very good natured and patient and rarely refused.

Exploring many themes such as, intimacy, AIDS/HIV crisis, LGBTQ, and the opioid epidemic, Nancy Goldin is an American activist photographer. Born in 1953, she has created a lot of popular work, including The Ballad of Sexual Dependency (1986). Documenting the post0Stonewall, gay subculture, the monograph incorporates her family and friends. This included addicts, hustlers, transgenders and prostitutes. Redefining photography, she explored what it could be and do.

Goldin seems to be an outgoing character, standing out from the normal group of photographers in her time. In an interview with The Guardian, they stated that she had a coyote hung in her house. She enjoys the fact that it startles her visitors, explaining, “It likes the light”. The coyote is possibly a metaphor for the ‘most celebrated and controversial photographers of our time’. Goldin doesn’t follow the rules, and typically decides to live on the edge of society.

Material –

From the age of fifteen, she began using polaroid cameras, provided to her by her teacher. She progressed, and started taking monochrome images of her friends in a transgender community in Boston. She also experimented with Cibachrome prints; prints made using a photographic printing process in which colour dyes embedded in the paper are selectively bleached away (destroyed) to form a full-colour image. Her medium then developed to presenting images on slideshows after she moved to New York. These were partnered with music by punk rock venues.

By experimenting with several mediums for her photography, she is able to present her works emotions and story. I like the idea of polaroids and prints because it adds texture, context and the overall look becomes more interesting than just basic digital images.

Analysis

This image represents how her images are no the typically ‘perfect’ edit. Although this image is full of strategic techniques, mostly using light, she has kept grain, very dark areas/ over exposed areas, and left the image at a slant. This adds to the documentary style of Goldin’s work. The imperfections in the image are what make it distinctive, and different to other photographers such as Alec Soth who perfects his lighting. In the photo she has used the bright beam of light to illuminate the front of the girl, creating a sharp shadow on her hips. She may be looking at body image in this photo, using the light and shadow to represent how the girl wishes to look, whilst facing the mirror. Goldin has left the photo with room for interpretation. The fact there is a large amount of shadow and dark space means that the window and the girls face are the focal point of the image. This photo is a key representation of how light is one of the most important matters in photography, and I will make sure to use it effectively.

My shoot

For my shoot inspired by Nan Goldin, I am going to try and use her distinctive style of vibrant and black and white images. Although I can’t capture as expressive portraits, I will try to remake her style with what I have.

What? I will take documentary images in the style of Goldin of my grandmother

Why? I want to portray her earlier life with my grandfather compare with now. I want to create images that are interesting, rather than plain/basic photos.

How? I will use my DSLR camera to capture most of the images. I will also bring a film camera and polaroid to get different mediums, adding to the nostalgic sense. I might also bring some studio lighting with me. I could experiment with butterfly, Rembrandt and split face shadow lighting to add intensity to some of the images.

When? I am going to do the shoot just after midday because it is when the light beams through her windows. I want to make sure I have a good amount of natural lighting to light up her face and the room, and possibly use as backlighting.

Link to theme? By exploring her and my grandfathers past I am seeking into their lives. I am now observing the change that time has caused, the death of the grandfather, and my grandmothers present life without him.

In my exam project in the terms of the theme Observe, Seek, and Challenge, I intend to explore the binary opposition of how femininity is viewed through the male gaze vs the female gaze. I intend to explore this idea of ‘Girlhood‘ which is a project created by Justine Kurland, which I had explored in a previous photography project, in which girls are presented in a hyper feminine way and reinforcing stereotypes in what ‘femininity’ is. Femininity is defined as ‘qualities or attributes regarded as characteristic of women or girls’ which can be challenged in the gender fluid society we now live in. Gender fluidity is part of Judith Butlers Gender Trouble theory, which argues that femininity can be presented through males and females, it is a behaviour a person can present, not a biological factor. Which challenges the dominant views that only woman can be feminine, and they are also perceived as feminine through society. To reinforce this idea in my project I intend to create a photoshoot which presents woman as more masculine which would be presented as more; confident, assertive, independent, and daring, in perhaps a dark feminine aesthetic. More so, I will be exploring my key researched artists Nancy Honey, and Cindy Sherman, which explore how femininity is presented through a patriarchal society through establishing an empowering movement of woman, through the female gaze and how woman empower each other. Honey does this by highlighting how femininity can be presented at a young age; girls exploring makeup, girls singing through a microphone, and dying their hair, this can also reinforce this idea of a teenage girlhood fantasy which I aim to portray in my work. Furthermore, I will be ‘observing‘ femininity through a hyper-realistic way in the gaze of Cindy Sherman, which is a highly influential feminist. She explores femininity in youth and challenges the dominant stereotype of beauty standards and behaviour’s woman are assumed to portray in society. 

I wish to develop my project into a photobook, presenting images of teenage girlhood, and portraying the life of teenage girls. I will be taking inspiration of Kurland’s photobook ‘Girl Pictures’ which highlights femininity within teenage girl lives. In my photobook I intend to show hyper-femininity and how society had created stereotypes that are still considered presently. Furthermore, I intend to present how woman follow these stereotypes in present society and how it has ultimately affected woman in society. Furthermore, my photobook will be a representation of teenage femininity and what young girls experience in a patriarchal society and the male gaze, which can damage the psyche of humanity. In matters to present images especially the topic of femininity and the concept of stereotypes and counter types in order to show the difference between the real world and the hyper-reality society created which overall clearly shows society as post modernistic supporting Jean Baudrillard’s theory. Within the photobook I will be presenting the contrast between the stereotypical ideologies of what girls are supposed to act like and the beauty standards they should follow in order to belong is society vs how girls actually present themselves and behave in society without the restraint that society has of woman. In terms of presenting the book, I am still unsure whether the orientation will be portrait or landscape, however I plan on presenting my images by having the most relevant images on the right, and the less relevant, fill in photos, on the left. This is due to the right side getting more recognition in photobooks, as it tends to be the page which draws the viewer into viewing the book. 

As a female in today’s society this project matters to present the ongoing sexual division and superiority. This project could be seen as a subtle protest for gender equality and how women are still viewed by men, in terms of the male gaze sexualising woman, despite all equality acts. I intend to try and create 5 photoshoots in total inspired by Cindy Sherman, Justine Kurland, and Nancy Honey. I plan on doing these shoots spaced out throughout the month before the exam date which gives me time to prepare and allow myself to see if any of the shoot need to be re-done.  

For my initial idea I don’t think that any of the artists referenced on the exam booklet would link to my take on documentary photography very well, so I have decided to research into my own photographers.

Eric Pickersgill

His background

Eric Pickersgill is a full time photographer and father working in North Carolina. He received a Master of Fine Arts degree at The University of North Carolina in 2015. He was born in Homestead, Florida in 1986 and spent his teenage years in Charlotte, North Carolina. Pickersgill received a Bachelor of Fine Arts degree with a concentration in Fine Art Photography from Columbia College Chicago in 2011. Between 2011 and 2013 Pickersgill taught high school in Charlotte, NC via Teach for America. His passion for teaching and image making allows him to see the connections that the two share. The work Eric makes is often about photography as he explores the psychological and social effects that cameras and their artifacts have on individuals and societies as a whole. Eric has exhibited and presented his work internationally at institutions, galleries, and art fairs such as The North Carolina Museum of Art, Pantheon-Sorbonne University, The Ackland Art Museum, Rick Wester Fine Art, Pulse Art Fair Miami, AIPAD, and many more. 

His work

Pickersgill quoted ‘The application of the personal device in daily life has made tasks take less time. Far away places and people feel closer than ever before. Despite the obvious benefits that these advances in technology have contributed to society, the social and physical implications are slowly revealing themselves. In similar ways that photography transformed the lived experience into the photographable, performable, and reproducible experience, personal devices are shifting behaviours while simultaneously blending into the landscape by taking form as being one with the body. This phantom limb is used as a way of signalling busyness and unapproachability to strangers while existing as an addictive force that promotes the splitting of attention between those who are physically with you and those who are not.’

  ‘Family sitting next to me at Illium café in Troy, NY is so disconnected from one another. Not much talking. Father and two daughters have their own phones out. Mom doesn’t have one or chooses to leave it put away. She stares out the window, sad and alone in the company of her closest family. Dad looks up every so often to announce some obscure piece of info he found online. Twice he goes on about a large fish that was caught. No one replies. I am saddened by the use of technology for interaction in exchange for not interacting. This has never happened before and I doubt we have scratched the surface of the social impact of this new experience. Mom has her phone out now.‘

I find his work inspiring in the factor that he is exploring some of the negative implications that come along with todays overly developed technology which

Personal image analysis

  

   The large format portraits are of individuals who appear to be holding personal devices although the devices have been physically removed from the sitter’s hand. They are asked to hold their stare and posture as I remove their device and then I make the exposure. The photographs represent re-enactments of scenes that I experience daily. We have learned to read the expression of the body while someone is consuming a device and when those signifiers are activated it is as if the device can be seen taking physical form without the object being present. Removed avails performance, portraiture, and photography to question the physical utility of personal devices and the ways they influence society, relationships, and the body. The photographed scenes are derived from observations in my daily life. I ask the sitters to re-enact my original observations of them and seconds before the exposure is made, I remove the device from the their hand. The sitter is asked to remain frozen as if they were still engaged with their device, producing a photograph that points to the performance of being photographed and making them. The project is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology. This exchange creates new relationships while also asking the viewer to question their own device habits. I am excited by the way the viewer fills in the device at first look. It is as if the device has become one with the body and can be seen when not present.

Andreas Varro

Varro looked also at the dystopian effects of mobile phones using multiple images and then bringing them together as one. Compared to Eric Pickersgill he looked more at the effects that social media had on peoples mannerisms compared to the physicality’s of someone on their phone. He generates some of his work with the help o artificial intelligence.

His background and motive for his work

Andreas Varro’s internationally awarded and published artwork represents human behaviour through the medium of satire art. He uses conventional methods to create props and construct scenes. Using photography, he captures and manipulates images using digital techniques. As a child, Andreas had a social phobia, and he lived with an intrinsic fear of expressing his ideas to others, afraid of being judged and punished for them. He chose to self-censor during his boyhood which haunted him and was painful on several dimensions. Having a quiet and thoughtful nature made him the target of bullies. Later on, life drastically changed and threw him into the abyss. After his father died from cancer, a man brutally murdered his mother a year later. Andreas asked himself what drives people to do the things they do?
The quest for understanding the motivations of individuals came at a time of darkness which fundamentally reconstructed him. Using art, he started to express the transformation he hoped for in society. The darkness he experienced shaped his artistic style which seems to derive from Renaissance paintings with those illuminations shrouded by dark canvas. Universal themes are inspired from ancient mythical stories which are translated into contemporary messages in his creative work. Over a short period of time, Andreas has received over 50 prestigious awards for his art, and his talent is now recognized worldwide. Surreal artist Andreas Varro creates thought-provoking art and highlights modern concerns like technology, social media, and power structures. By blending elements from myths, stories, and pop culture, he crafts art that triggers reflection. Varro’s art prompts dialogue about crucial modern issues. His surreal art becomes a focal point at home, urging people to engage. Seamlessly blending past and present, Varro’s surrealism sparks curiosity and meaningful conversations.

Image analysis

In this photo Varrous is trying to show the detrimental effects that ‘too much screen time’ has on a young child. He has taken a portrait of a young girl with a screen that looks attached to her face. He has used warm tones with the background being black/dark grey and the only light that appears is artificial lighting projecting from the screen of the phone. Not only does his work look at the obsession from adults about technology but also the developing addiction that the newer generations are starting to establish.

Definition of the verbs:

Observe:  to watch somebody/​something carefully, especially to learn more about them or it: The patients were observed over a period of several months

Synonyms of Observe

• study.
• examination.
• inspection.
• monitoring.
• review.
• surveillance.
• watching.

Seek: the act of searching for something.

Synonyms of seek

• pursue
• hunt
• search
• chase
• quest

Challenge: something that needs great mental or physical effort in order to be done successfully and therefore tests a person’s ability

Synonyms of challenge

• objection.
• exception.
• question.
• complaint.
• protest.
• difficulty.

My first idea when I heard the 3 themes was to take pictures of the natural world around us such as animals, plants and general wildlife. The more I thought bout the idea I started thinking about the actual world that humans have created such as technology. Since 2007 when the first iPhone was developed , it have become a common mannerism in 1st world countries to be on their phone. Globally the average screen time is around 7 hours

These statistics mean that the majority of these users are getting preoccupied by technology and spending less time observing the real and natural world that was given to us.

This is also having a physical effect on peoples eyesight as Near-sightedness is on a rise world wide, due to the lack of observing objects from far away.

I am incorporating it into the themes that we are assigned such as ‘Observing’ the world around us (the rise in technology) ‘Seeking’ for nature and ‘Challenging’ the addictive behaviours that the world is becoming immune to.

If I did follow along with this idea then it would be classified as a documentary, inspired by page 28 from exam booklet

Romain Veillon is a French photographer specialized in the visit of urban decay places, a practice called ‘urbex’. As an urban explorer he manages to catch the out-of-date, sometime post-apocalyptic, feeling in the air of those locations, where nature reasserts itself. Romain Veillon learnt his skills as an autodidact. He has photographed abandoned areas around Paris at first. Romain Veillon has extended his passion during trips through the world. With his photos Romain Veillon establishes a dialogue between past, present and future. Some of those places pursued their decay, other ones were demolished, vandalized or restored. Photography become the witness of a time, the optical record of a building. In Romain Veillon’s snapshots the viewer can project a fantasized story.

Abandoned Buildings

I am interested specifically in Veillon’s work on abandoned buildings. Similar to Matt Emmet’s work, he seeks abandoned and unseen place’s taking sort of abstract images of them to show the world.

During his explorations of abandoned places across Europe, he has stumbled upon enchanting architectures that have been left to decay for decades. In his latest book Green Urbex: The World Without Us, Veillon explored what the world would look like if the human race disappeared and nature took its course without any human interference.

-Mr Veillon wrote that he wants each photograph to tell a story and make people think about what had previously occurred at places that are now derelict and about what the world would look like if mankind disappeared.

Image Analysis

The image above is of a church in France that had been abandoned. While the tiled floor featured stones that had broken and greenery that filled the area, the magnificent architecture and detailed patterns carved along the walls remained intact, along with the colourful stained glass windows that were highly featured on religious buildings. The composition of the image is very sharp. Every wall or corner, every detail is aliened and arranged neatly. The lighting is natural and brightens up the image, although the building has been abandoned, it still appears to be pretty and partly put together.