Mood Board:

Peter Mitchell is a British documentary photographer born in 1943, and is known for documenting Leeds and the surrounding area for more than 40 years. Born in Hope Hospital, Salford, Peter lived briefly in the North West before relocating with his family to London during the 1950s. He grew up in Catford and attended Hornsey College of Art. Following a brief period working as a trainee travel agent for Thomas Cook, he worked for a number of years in the Civil Service as a draftsman. Later, he found steady employment as a graphic designer. Peter moved to Leeds in 1972, into the house in Chapeltown where he still lives and works today. Whilst having a stint working as a delivery driver around the city, he started to photograph the shops, houses, and factories that didn’t have long before they were to be demolished – or “goners,” as Peter referred to them.

Mitchell’s photographs have been published in three monographs of his own, as well as his work being exhibited at Impressions Gallery in 1979, and nearly thirty years later was included in major survey exhibitions throughout the UK including at Tate Britain and Media Space in London, and the National Science and Media Museum in Bradford. Mitchell’s work is held in the permanent collections of the Royal Photographic Society and Leeds Art Gallery. Peter’s striking images were an essential part of the colour documentary scene in the seventies and eighties and often featured shopkeepers and factory workers outside their places of work.

Not much is known of Mitchell’s practice through the 1990s and early 2000s. He did continue to photograph, filling his home with negatives, prints and artwork. Mitchell’s work came back to public attention in 2007 with its inclusion in How We Are: Photographing Britain, exhibited at Tate Britain. By this time, Mitchell’s one-time co-exhibitor Martin Parr had become significantly influential not only with his own work, but in his championing of British Documentary photography as a whole. Parr identified Mitchell’s significance to the development of British photography and with some cajoling, and the help of American publisher Nazraeli, Peter’s first Monograph, Strangely Familiar, was published in 2013.

Sir Yank’s Records (& Heavy Disco). Leeds, 1976.

 “I’m a Buddy Holly fan, that’s why I took it. The single Rave On was released in 1958, it’s one of my favourite Buddy Holly tracks!”.

Mitchell focuses on capturing old, casual buildings such as red brick houses without a pleasing aesthetic or any modern features. This can be seen as unusual from a viewers perspective as typically photographers focus on photographing large or beautiful buildings. Mitchell differs from these artists, making him stand out against them as he has a much bigger sense of realism throughout his work, without using many editing apps either. He tends to keep his work very natural looking, and always taken from a deadpan angle, allowing maximum capacity for the surroundings of the subject too. Overall these factors give a significant, vintage and antique aesthetic. From this, we can gather that Mitchell is a practical photographer, who manages to make simple buildings seen from different views, which opens up our outlook on Anthropocene photography. This ultimately influences other photographers, who also capture the impact of humans on the environment, to perhaps also take on a more realistic approach. Overall, the commonsensical approach that Peter Mitchell takes forces the viewer to realise the changes that have happened in the world due to humans and how we have adapted to a more modern world.

“I’ve been a fan of Peter Mitchell since I first saw his photograph of Mr. & Mrs. Hudson outside their newsagents in Seacroft, Leeds, in 1974. It is a brilliant image that is part of Peter’s body of work documenting Leeds from the 1970s onwards.”

Image analysis:

Mitchell has also produced images like this where slightly more modern buildings are featured next to the industrial buildings, ultimately creating a contrast between the new and the old. Although, I can infer that the shop on the left is still not a modern building, but the use of painting it white reflects today’s world as we now see the colour frequently. This effect enhances the similarities and differences between them which adds a sentimental mood into the image, showing how humans have adapted to modernity. The use of including a church, which is connected to the shop, could also be significant as it may highlight that the couple in the image are religious and they may own the church as well as the shop. From this, as a viewer I could also assume perhaps the artist is religious too, and he may be photographing his passion to communicate a message with the viewer. Additionally, Peter Mitchell has involved the sky and some background into his photo, adding a more casual aesthetic, which can take the viewers eye away from the main subject in the image. As I can see the sky is a dull, white shade this can be seen as reflecting the emotions hidden behind the image. Perhaps Mitchell is implying he might be sad by the new changes and portraying them through the emotionless tones throughout.

In contrast to this, we can also see that half of the shop on the left has been knocked down, with what we assume as the shop owners still standing at the entrance. From this we can presume that they have owned the shop for many years and are about to get it knocked down. This links to the Anthropocene as humans and their updated, advanced technology has caused many buildings etc to be knocked down and replaced by more modern versions. This again adds to the sentimental affect throughout the photo, and perhaps Peter Mitchell can relate to this feeling and is sending a message through his photography to people, so we can see the damage and change.

Overall, this image is effective because it explores the contrast between the new and old, while also incorporating a sense of realism. The artist also manages to create an overall mood throughout one image, as he includes many features that tell a story without speaking. I find this very inspiring as Mitchell has a unique perspective and aesthetic in his photos despite capturing every day, simple buildings.

I created this mind map on PowerPoint to help guide me through the Anthropocene project, identifying key factors that play a role in how the Earth has evolved since humans began to damage the environment. By highlighting these areas, I am now able to set a focus for my photoshoots which will allow me to portray my own thoughts and ideas into my work, with a sense of creativity and originality.

What is anthropocene?

The Anthropocene is a proposed geological epoch dating from the commencement of significant human impact on Earth until now. It affects Earth’s geology, landscape, limnology, ecosystems and climate. 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.

In simple terms, it is how human activity impacts the earth.

Mood Board:

The word Anthropocene comes from the Greek terms for human (‘anthropo’) and new (‘cene’), but its definition is controversial. It was coined in the 1980s, then popularised in 2000 by atmospheric chemist Paul J Crutzen and diatom researcher Eugene F Stoermer. The Earth is approximately 4.5 billion years old while humans have been here for a much smaller scale, yet irreversible influence has taken place on biodiversity and nature, fundamentally altering the Earth’s physical, chemical and biological code. In the last 60 years, the Great Acceleration has began. This is a term used for the increasing rate at which human impacts are unfolding at an unprecedented scale and speed, causing the globe to deteriorate and become more modified, spiralling downwards. Being the most influential species of the planet, human behaviour has created a snowball effect of significant impacts not only for other ecosystems or species but ourselves too. Just a few of these are:

• Extinction
• Habitat destruction
• An increase in extremeness and frequency of severe weather conditions e.g earthquakes, tornados and storms
• Carbon dioxide emissions
• Global warming
• Ocean acidification

To accelerated and irreversible global warming, the Anthropocene may coincide with the rise of the modern environmental movement, as a new geological age that has displaced the Holocene of the last 10,000 to 12,000 years. Human beings have become an emerging geological force that affects the future of the Earth.
The dramatic changes in the correspondence of humans and the environment. Beginning with the Industrial Revolution, the late 1940s and early 1950s, the strong impact of Contemporary Society, the rise of capitalism, the colonization of the world, and the era of fossil fuels. The geologist, Thomas Jenkyn spoke of anthropozoic rocks, the geologist Pavlov used it to refer to a new geological period in which humanity was the main cause of planetary geological change, later Paul Crutzen (Nobel Prize in Chemistry) gave popularity to the term Anthropocene.

Just over twenty years ago, scientists introduced a term to denote a new geological epoch in which human activity has had a marked impact on the global climate: the Anthropocene. Since that time, the concept of the Anthropocene has been exposed to a wider public audience through expanding environmental studies and scholarship, increasing coverage in the popular press, widespread and fervent activism, and a variety of artistic responses. Second Nature: Photography in the Age of the Anthropocene is the first major exhibition to examine the Anthropocene through the lens of contemporary photography. Comprised of 45 photo-based artists working in a variety of artistic methods from studios and sites across the globe, Second Nature explores the complexities of this proposed new age.

Since it’s emergence, the term Anthropocene been adopted by disciplines outside of the sciences including philosophy, economics, sociology, geography, and anthropology, effectively linking the Anthropocene to nearly every aspect of post-industrial life. Organized around four thematic sections, “Reconfiguring Nature,” “Toxic Sublime,” “Inhumane Geographies,” and “Envisioning Tomorrow,” the exhibition proposes that the Anthropocene is not one singular narrative, but rather a diverse and complex web of relationships between and among humanity, industry, and ecology.

Ultimately, the theme of Anthropocene also links to the project of Poaches hunting down elephants and killing them as easy access to their tusks. Elephant’s tusks are burnt for the pure purpose of Ivory, which comes from the tusks and is considered very valuable. Because of the high price of ivory, poachers illegally sell their tusks. Tens of thousands of elephants are killed each year for their tusks, and as a result, elephant populations have declined rapidly.

Mood Board:

Aaron Siskind was an American photographer whose work focuses on the details of things, presented as flat surfaces to create a new image independent of the original subject. Born in New York City, Aaron Siskind graduated from the City College of New York in 1926 and taught high school English until he became interested in photography in 1930. In 1933 he joined the Film and Photo League in New York, a group of documentary photographers devoted to improving social conditions in contemporary society through their pictures.

While involved with the League, Siskind made some of his most successful and well-known documentary photographs, including those for The Harlem Document. Siskind’s photographs have been widely exhibited and he won many awards for his photography, including a Guggenheim Fellowship, and the Distinguished Photography Award from the Friends of Photography. Siskind was a photography instructor at Chicago’s Institute of Design and served as head of the department there from 1961 to 1971.
Siskind’s abstract photographs from the late 1940s and early 1950s were a major force in the development of avant-garde art in America. In rejecting the third dimension, this work belied the notion that photography was tied exclusively to representation. He created pictures by closing in on his subjects, framing out distracting elements to enhance the emotional sense or allusive aspect he found compelling. Later he focused on surfaces to further condense the energies of splashed paint, graffiti marks and crumbling materials.

“In photography, it is not the subject that matters, but how it is captured.”

Mind map:

• Textures
• Patterns
• Natural formations
• Abstract photography
• Social realism

Image analysis:

Siskind commonly edited his images in black and white, as it allows the outcomes to appear distraction free – busy, colour saturated pictures can confuse the eye and sometimes there’s simply too much going on. Black and white images on the other hand can seem refreshingly simple and it’s often easier to see and interpret the main focus of the picture. However this is not always the case, as sometimes the viewer can not interpret the main focus on an image when it is in black and white, because it is difficult for us to assume the colours in the image, which could potentially take away the mood in the photo. Additionally, Siskind focused on abstract photography, where he captured different patterns and textures through materials. This relates to my photoshoot as I took photos of different textures close up which allows me to assume how old the materials are and how long they have been there. For example, rust on objects immediately tells the viewer that the object is old, and perhaps hasn’t been taken care of properly or been cleaned enough. Old photographs can help shape our understanding of culture, history, and the identity of the people who appear in them.

Examples of my work compared to Aaron Siskind:

Comparing my work to Siskind:

I believe my work is very similar to Aaron Siskind’s as we both have used the deadpan approach on our images so it is easy for the viewer to interpret our message through it, as well as making it easy to see the details throughout and seeing a clear display of the subject in the photograph. We have both also experimented with using black and white in our editing process, in order to emphasise the specific characteristics in each one, without being distracted through the different colours. However a difference between me and Siskind is I tested my photos with lighter filters and tones when editing, this is because I did not want any of my photographs to appear dull or boring to the viewer. Hence, I kept a few of my outcomes in colour but enhanced the editing so the tones and shades are enhanced. Whereas, Siskind often edits his photos to become darker, which displays a clear divergence of the different textures, successfully adding a dramatic effect.

What is an urban landscape?

An urban landscape means a dense accumulation of building structures with a rich stylistic variety of shapes, sizes and proportions located over a fairly extensive territory. The landscape, development block, and movement framework are the three main design elements of an urban project of any scale.

Urban photography is a genre of photography concerned with capturing scenes from urban spaces, such as towns and other ecological spaces. It has become more popular over the years as the world has become more urbanized. It is an interdisciplinary study which links to landscape and street photography.

I photographed this image at a deadpan and low angle, to emphasise the different patterns and textures in the rocks, while also eye-catching the viewer. This helps bring their eye towards the contrast between the dull sky and the different sceneries such as the trees and the rocks. By increasing the contrast by a significant amount, I was able to add to this. The image is also interesting as there is a range of materials; man-made vs natural, therefore I did not want to edit it to a point where it looks surreal. To keep it realistic, I decreased the exposure in the photograph so it is possible to see the variety of tones throughout the sky, which helps add an ominous effect. However, in order for the image to not appear dim, I increased the whites which creates a bigger contrast between the shades.

For this image I did not edit too much as it is a minimalistic photograph with potential. With the colours only being black and white, this can also accelerate the modern vs industrial theme I have looked at within my photoshoots as it unites with the modern approach to many images today. I only increased the contrast and exposure to highlight the simple details, to appear more eye-catching, as well as juxtaposing the bright whites with the dark shades.

Within this image, there is another divergence between the modern and historical approach, as I have integrated the top of the apartments, where we can clearly assume they were newly built. Whereas I can infer that the tree is ancient, as it was extremely tall meaning it had been growing for decades. This adds interest to the overall outcome because by embodying ancient nature, I am able to encourage comparison of our present with our past. This can also successfully add a mood of nostalgia for the viewer. By increasing the contrast, it can foreground the plain colours in the image. I emphasised the clouds by decreasing the exposure as the image has no detail in the sky and increasing the contrast for more detail.

I photographed this image from As the purpose of this photograph I captured was to capture the texture, I kept the clarity and dehaze neutral, as I think it takes away from the distinctive details throughout. Therefore I made small changes like increasing the contrast in order to despair a range of tints and complexions within.

For this photoshoot we went to Havre Des Pas and took a closer look into the different urban landscapes such as industrial monuments and buildings. We attempted to focus on obtaining natural scenery (sand, seaweed etc) as well as industrial and man-made features (houses and buildings).

Within the image above, it has more man-made and modern features rather than historical which can be observed through the metal fountain as the subject of the image. This contrasts well against the other images of the natural scenery, taken by Ansel Adams. The photograph above links successfully to Robert Adams as he focused on housing as the main subject, but incorporating natural scenery in the background. My images differ from this as instead of embodying nature, I included the modern apartments.

While editing this image, I increased the exposure to make the image appear brighter and reveal the details in the shadows. I wanted this photograph to appear bright as it contradicts the white buildings and the shiny monument in the centre. I decreased the shadows because I did not want an extreme contrast between the different colours and shades within the image, and I wanted to achieve an overall beaming and intense mood which highlights the modern man-made world in which humans have adapted to.

For this photoshoot we went down to Havre Des Pas and around the harbour to capture some of the modern / historical features in the area. We started at the bridge and made our way down onto the sand, where we were able to incorporate some of the ancient buildings, and the large rocks. We then walked down towards the Good Egg café, where I was able to photograph many of the recently-built apartments overlooking the sea. This worked well within the photoshoot as it contrasts with the historical and industrial monuments surrounding them, making the photoshoot successfully appear more interesting for the viewer, where they can observe how the modern world has adapted.

In order to filter and organise my images from the photoshoot, I flagged them first to arrange them into my best images compared to my worst images. This helps me identify which images to use for future projects etc. I then colour coded them into green (my most successful), yellow (potentially could be used), and red (my least successful) to emphasise how many effective outcomes I captured, and how I can improve for my next photoshoot. Furthermore, I rated each image out of 5 stars, to exaggerate which of my photos are fortunate and which ones need improvement. These approaches also allow me to use photoshop and lightroom on some of my unsuccessful photographs, and perhaps edit them to give them more eminence.

Mood Board:

Mind map:

• Typography
• Historical / industrial
• Black and white / dull tones
• Bright lighting and exposure
• Man-made
• Empty areas

Ed Ruscha was born December 16, 1937 in Omaha, Nebraska, US. He was associated with West Coast Pop art whose works provide a new way of looking at and thinking about what constitutes the American scene, as well as connecting the verbal with the visual.

Ruscha was raised in Oklahoma City, and in 1956 he made his way to Los Angeles. There he attended Chouinard Art Institute where he studied painting, photography, and graphic arts. He worked as a commercial artist, painting signs and creating graphic designs. As a result, he began to apply commercial techniques and styles to his own artwork. Initially, he experimented with Abstract Expressionism, but he soon turned to the found words and images drawn from vernacular culture that would come to inform all his work. 

Between 1963 and 1978 Ruscha systematically photographed southern California’s built environments – including vacant parking lots, swimming pools, and nightspots. He made these photographs into wordless books, such as Every Building on the Sunset Strip. The 16 artist’s books he created in this manner were widely influential among a younger generation of artists.

Ruscha comments on myths of American Romanticism, commercial culture, and urban life in humorous and ironic pieces. He sometimes uses unusual media in his work, including fruit and vegetable juices, blood, gunpowder, and grass stains, in works such as his Stains series. In the 1980s, his style became more mystical, as he worked with rays of light, constellations, and other celestial themes. Ruscha is best known for his witty and enigmatic use of text in his paintings, which he continues to incorporate into his works today.

 I started taking pictures when I was at school, with no serious intentions. I liked the idea of capturing what is right here right now, like an immediate reality that could be then evaluated and integrated to a painting” – Ed Ruscha

His painting is impregnated with American consumerism and visual standardization, including words and catch phrases in the pictorial composition. This may be significant as it adds context into each of his images, and gives the viewer something to focus on.

Also, Ruscha often experimented with typology – the idea of a system used for putting things into groups according to how they are similar. The reasons to create a photographic typology would be to either create a connection between subjects that share no obvious visual relationship. Or to compare and highlight differences and similarities between subjects that share a visual relationship. The typology approach is effective as it shows a range of different photographs that relate to each other, but with differences such as location or angle.

Image Analysis:

Standard – Amarillo, Texas’, 1962. © Ed Ruscha

This is one of Ruscha’s most famous images, taken in 1962. The location of the image is at a local petrol station, with no particular out-standing aesthetics. However, although it is seen as a perhaps unusual subject at first glance, there is important aspects beneath the surface of this image. I can rightly assume that the reason behind Ruscha photographing this would be to refer back to the American Dream, which was a huge concept of society in the 1930s.

The importance of Ruscha was that he managed to elevate each of his photographs, by simply adjusting his camera settings to alter the image to however he desires. This photograph specifically has many dull tones, in which it is not completely black and white. It seems to have some warmer tones within it, where we can make assumptions about it; the sky is clear and bright blue and the weather is extremely calm as the trees are still.

The angle of this photograph is described as the “deadpan” approach, meaning it was taken from straight on. A deadpan photograph is devoid of emotion. It simply exists as a subject and photograph, yet it seems to be empty. There is no joy or sorrow, although some can argue that the deadpan itself is a mood of its own. The deadpan approach as well as the filters on the photograph gives the viewer an immediate impression of mystery, where we question why the image is in black and white, and why was the deadpan approach used? In photography, black and white photographs symbolize emotions distinctively. They can be used to show contrast, convey feelings of sadness or happiness, or mostly to create a feeling of nostalgia. They can also depict the passage of time or the changing of seasons.

Another significant factor of this image is that despite Ruscha’s common theme throughout his photos is the man-made world, he manages to incorporate small hints of nature in the background. In this photo we can see large trees hanging over the gas station, perhaps implying anciency. From this we can assume that maybe Ruscha has used this gas station before, or grew up near it. This gives the image a sentimental mood because from the first look, the aesthetics of the photo did not imply any of this. This makes me feel included and more involved, as just by analysing and taking a closer look at Ed Ruscha, I am able to make assumptions about the backgrounds behind his work.

Similarities and Differences:

These are two more photographs captured by Ed Ruscha, where they have clear similarities and differences to one another.

The image on the left has much brighter shades and tones throughout as it was taken in the day time. This is significant in The New Topographics because other photographers such as Lewis Baltz and Robert Adams used this technique. They preferred to take their photos in the middle of the day rather than dawn or dusk, as the exposure is higher and the lighting is better. The left photo has also been taken from a lower angle than the image on the right, yet both photos seem as if they have been captured from inside a vehicle, whilst it was moving. This creates a blurry sense, which enhances the images by giving a shallow depth of field. In the photograph on the right, there is a clear absence of light, in which this emphasises and enhances the decorative lighting. The lighting may be viewed as the subject of the image because without it, the image would be pitch black, which draws the viewer in. Also unlike with daytime shoots, the light is not changing – it’s very much the same throughout the night. This is effectual as there is also a contrast created between the luminous lighting and the dark background.

Overall, I think Ed Ruscha’s images are very successful in the way he plays with different lightings, yet comes out with similar outcomes. The use of taking two similar photos but with opposite lighting, allows the viewer to observe how lighting can affect the mood and overall tone of the photograph.

What is the new topographics?

New topographics was a term coined by William Jenkins in 1975 to describe a group of American photographers (such as Robert Adams and Lewis Baltz) whose pictures had a similar banal aesthetic, in that they were formal, mostly black and white prints of the urban landscape.

The New Topographics documented built and natural landscapes in America, often capturing the tension between natural scenery and the mundane structures of post-war America: parking lots, suburban homes, crumbling coal mines. The photographs, stark and documentary, are often devoid of human presence.

Jenkins described the images as “neutral” in style, “reduced to an essentially topographic state, conveying substantial amounts of visual information but eschewing entirely the aspects of beauty, emotion, and opinion”.

Topographics in general is a technique in which a scene, usually a landscape, is photographed as if it were being surveyed from afar.

On the one hand, New Topographics represented a radical shift by redefining the subject of landscape photography as the built environment. To comprehend the significance of this, it helps to consider the type of imagery that previously dominated the genre in the United States. 

Beginning in the 1920s, Ansel Adams cultivated an approach to landscape photography that posited nature as separate from human presence. Consistent with earlier American landscape painting, Adams photographed scenery in a manner intended to provoke feelings of awe and pleasure in the viewer. He used vantage points that emphasized the towering scale of mountain peaks, and embraced a wide tonal range from black to white to record texture and dramatic effects of light and weather.

Ansel Adams, “The Tetons—Snake River,” Grand Teton National Park, Wyoming, 1942

Adams wanted his pictures’ viewers to feel as uplifted as he had when looking at the scenery in person. His heroic, timeless photographs contributed to the cause of conservationism – the environmental approach that seeks to preserve exceptional landscapes and protect them from human intervention.

Despite The New Topographics being an interesting new genre for many photographers to experiment with, it was actually a controversial technique in which many photographers do not like the look of it. This may be because the photos include more of the man-made world rather than the natural world, which many can argue is more “boring”.

“I don’t like them—they’re dull and flat. There’s no people, no involvement, nothing.”

However, many photographers do enjoy photographing the man-made world as it is an opportunity for the audiences to realize how much humans rely on it. The world we live in today would not be remotely similar if we did not have all of the up-to-date buildings and technology, which is useful to everyone, every day.

“At first it’s stark nothing, but then you look at it, and it’s just about the way things are.” 

“I don’t like to think there are ugly streets in America, but when it’s shown to you—without beautification—maybe it tells you how much more we need here.”

The stark, beautifully printed images of the 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.

Post-war America struggled with:

• Inflation and labour unrest. The country’s main economic concern in the immediate post-war years was inflation.
• The baby boom and suburbia. Making up for lost time, millions of returning veterans soon married and started families.
• Isolation and splitting of the family unit, pharmaceuticals and mental health problems.
• Vast distances, road networks and mobility.

Robert Adams, The New West

The artist Ed Ruscha is famous for his paintings and prints but is also known for his series of photographic books based on typologies, among them every building on the Sunset Strip, 26 gasoline stations, some Los Angeles apartments, and 34 parking lots. Ruscha employs the deadpan style found in many photographic topologies.

Parking lots, suburban housing and warehouses were all depicted with a beautiful stark austerity, almost in the way early photographers documented the natural landscape. 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.

In this first image, I cropped out some of the left side which had very little nature as I think it helped keep the photograph on topic. I then decreased the exposure and increased the vibrancy because I wanted some tones and shades in the sky to be more emphasised. This looks effective because it gives a similar approach to Ansel Adams, who focuses on bringing out detail in his images. Although I kept the whites and blacks neutral as I wanted the photo to have a sense of realism and doesn’t look too different to how I originally saw the landscape with my naked eye.

My final image:

Firstly, I decreased the exposure again because it gave the photograph more life and also I think it looks better with the black and white filter, so overall it doesn’t look too washed out. I then increased the contrast like Adams does with his photos so it adds more depth into the photo, whilst also adding in more detail. I decreased the shadows which also helps to add a contrast between the lighter and darker shades. I like to keep the texture, clarity and dehaze neutral because I think they can add an artificial look to the image, which is not the approach I want to take with my photos.

My final image:

For my third image, by the angle and lighting in which I originally took it, it already had quite dull tones and shades due to the clouds covering the sky. Therefore I did not want this image to be black and white because I thought it would take away more life from the photo. Instead, I decreased exposure and increased contrast in order for the image to have some of its colours emphasised, while also increasing the highlights and shadows. By doing this, certain shades in the clouds were then made darker, which makes the overall photograph look much more interesting and less dull. By using this technique, I was able to create a similar look to some of the sublime and romanticism images we have looked at, as the image has some dull colours, but it contrasts well with the brighter tones. This also allowed the photograph to have more profundity, without looking too artificial.

My final image:

Although this image naturally has a range of colours and tones within it, I wanted to make it black and white as I believe it brings out lots of the details to the sea and sky. By decreasing the exposure I was then able to bring out the contrast in colours between the blue sky and white clouds, and then adding to this by increasing the highlights, shadows and whites. This then prevented the photo from looking monotonous, by also decreasing the blacks to emphasise the sky.

My final image:

For my final edit, I experimented with whether it looks better in black and white or in colour. This photo has a high exposure which can drain some of the other tones throughout the image, so I think it looks more effective in black and white. By decreasing the exposure it helps add interest as the viewer is able to focus on detail within the photograph and see the range of shades. However I also think this image looks successful in colour because I was able to exaggerate some of the colours in the sky and make them appear brighter. I also increased the contrast because it adds prosperity and depth.

My final images:

For this landscapes photoshoot, I borrowed a camera from school and went to a few areas in the East of the island; Gorey, Rozel, St Catherine’s and Archirondel. I found that these areas had views that incorporated nature, as well as monuments such as the castle. I think that these things together make successful and similar approach to Ansel Adams.

Next, I will flag these images to divide them into my most and least successful outcomes. This will make it easier for me to identify which images to use for future final products, and I can also see my areas for improvement and how to enhance my photoshoots.