With the theme for the final exam being Union, I initially began thinking of ideas by reading through all pages of the exam paper, including features of fine art for example, because this would enable me to fully explore and utilise the information given to me so that I could easily find different movements and artists who inhabit this theme in their own work.

From here, I was able to use search engines to research what I had learnt, beginning with different artistic movements such as Cubism to gain visual examples of what I could gain inspiration from and actually see if I liked the aesthetic components of these images. What helped me here was annotating the exam paper with my own ideas that I had began to formulate because this would let me fully evaluate them all at the end of my research to the concept which I felt most suitable for Union.

I didn’t want this personal study to be similar to any of my other photographic responses because I wanted to ensure my portfolio would have versatility, a range of different methods from objectivity to subjectivity. The specific idea which really drew me in was looking at different societal movements which we have as this is an excellent depiction how the minimal representation of people and important constructs brings people together to have their voices heard in fighting against repression, here being the Feminist movement. Whilst this is greatly a global and universal political movement that has been present for decades, I wanted to use this movement as inspiration as it is important to me, being the fact that I am an 18 year old girl who is actively affected by actions fought against by this movement in partner with billions of young girls and women across the world. I feel almost as if it is my duty to interpret this in my work as it is incredibly relevant to me and something I do feel passionate about which will in turn allow me to create effective images. I wanted to include aspects of tableaux photography by curating staged scenes to represent truthful and real events that happen more frequently than society realise due to the normalisation of objectifying the female sex. So, in terms of my previous research on Mirrors and Windows, I find this body of work will be categorised as both due to its documentation of real and truthful stories captured by millions of women every year, however I will be using staged scenes in order to create this whilst also having a personal connection to my images due to this being extremely relevant in my day to day life due to my preconceived perceptions of the world in relation to feminism as well as having first-hand experiences being female regardless of my young age. I would also still like to create subjective images in accordance to my objective ones to visually display inner thoughts and feelings surrounding the issues that Feminism attempts to tackle.

Statement of Intent:

My main subject within the Feminist movement is going to be shooting people, specifically women and young girls as this is the focal point of the movement making this the best way to represent the hundreds of issues addressed here. I want to use dynamic angles to do this, being low or diagonal with a strong contrast in my lighting as this will create solemnity, seriousness and drama to encapsulate the importance of this topic. This will take place in domestic environments as well as external scenes:

1. Domestic Scenes:

I will be shooting inside my house and my friends house, creating staged scenes, in order to represent domestic abuse, misogyny and male violence that happens behind closed doors in domestic relationships. With domestic abuse being rarely reported due to fear and the entrapment of women, whether this could be due to family connections, separation from close friends and immediate family or financial assets being tied together, 1.5 million cases of reported domestic abuse-related incidents were gathered in England and Wales in the year ending March 2022 (1). I also want to portray this because it could happen to anyone, and not be realised until the person is too far into the relationship to leave, as this abuse tends to begin emotionally and psychologically before it grows into something much bigger and more controlling, meaning this could be something that has occurred to the woman sat next to you on the bus on a Monday morning, or simply the person serving you as a cashier in a shop. The point is that this topic is universal and kept behind closed doors, so this representation creates the hope that it can influence others to come forward and break out of these toxic situations, forcing realisation that it is entirely unacceptable to be treated in such a demeaning manner and it is not ‘love‘ to fear the person who should make you feel the most safe.

Before artist references and inspirations, I began to create photoshoot ideas to represent domestic abuse:

• How domestic abuse rates rise 26% when the England football team wins or draws, and increases a 38% when his team loses. I wanted to utilise this by using different depths of field with a female crying or looking distressed next to the tv with a football game on. In the background I could vary my depths of field and experiment, putting a can of beer in the background for the viewer to infer that they are afraid of the results of the match.
• The uniting of women in their trauma, for example the support received once telling friends and family what they have endured or even getting a friend to document the actions of their abuser by using phones to photograph bruises and fingerprint marks.
• The fears of spiking, this being an issue that is rife in nightlife by women having things put into their drinks to be taken advantage of and objectified. To do this, I will be staging a party scene in the background and using Photoshop to experiment with different colours to create strobe lights. Of course this would be more realistic in an actual club or party because I would have true lighting, however this would be incredibly difficult because there would be very poor lighting conditions and I could risk damaging the camera depending on how busy the location is. Here, I am going to use still-life images of a glass of wine and putting a small piece of a Vitamin C tablet inside as these fizz when wet, to give off the perception of a foreign body being placed in someones drink without their awareness. As well as this, I would like to create images of a ‘feminine’ hand over the top of the glass as when I go out, my parents automatically remind me to watch my drink and be protective of it to minimise the risk of this happening to me.

2. External Scenes:

My main idea behind using the external environment to create images in this topic is to show the political side of the feminist movement. Within this, I will be creating signs similar to the ones I have seen in the media, and putting them into the sky to photograph them as this is a simple way to show the activism and advocation that has been going on within the feminist movement for hundreds of years beginning with the Suffragettes. I will also be shooting images of fists in the air as this is commonly associated for standing up for what is right and is the forefront symbol of empowerment.

By using outdoor environments, it makes sure that my images are still in touch with the wider applications and impacts that this movement has instead of just looking into the internal pressures that women have from misogyny and sexism. I don’t think I will be shooting images within the studio because I would like to keep the aspect of realism in my work, ensuring that the images produced are raw and relative to real-life. If I do shoot images in the studio, this runs the risk of them not looking as realistic and truthful even though I am using staged environments which won’t allow my images to be as effective.

The other photographic responses I have began to formulate on my own are:

• The idea of sonder– being the realisation that every individual a person sees has a life as full and as real as their own. This is in relation to the domestic abuse many women face in silence and alone behind closed doors, and how this could happen to anyone at all. My idea to represent this concept is to have one girl or women staring into the lens of the camera out of a crowd of people moving around her, symbolising a cry for help, in town for example. For this, I can use a slow shutter speed to create a motion blur around the subject to symbolise almost being ‘forgotten’ about in their private fight. This can also be experimented with to be inverse of the male gaze in the public eye, being due to women purposely keep aware of their surroundings as an instinctual response due to past experiences and the knowledge of the high levels of attacks in public areas on women.
• The concerns of pregnancy at the hands of abortion bans in many countries, such as Donal Trump’s beginning of his Project 2025 plans which could lead to the deaths of many young women and girls for numerous reasons is a more modernised problem that the feminist movement is striving to battle against. For this, I am going to purchase pregnancy tests and drop them onto the floor of public toilets or place them onto the basin on the sinks and shoot from high, overhead angles, such as standing over the adjacent cubicle, to connote emotions of fear and worry. I will use high contrasts and a lower exposure to make the image have a heavier feeling.
• I want to use this ‘birds eye view’ in public toilets again using a high angle, with a girl inside the toilet looking distressed and concerned as if they are hiding or having fears about their current situation. There are typically notices on these toilet doors of JAAR – standing for Jersey Action Against Rape which I think would be very effective as I can utilise this to make the concept of the image more explicit. I will also shoot images of these notices in a more dead-pan aesthetic, being straight on, as this are very relevant to the movement in giving women support systems.

My final piece will consist of a photobook as in my previous personal study exploring the hardships of growing up with a family member suffering with extreme symptoms of a mental illness, I found that this was incredibly moving because I have entire control over the aesthetics and colour palette which are important in connoting different emotions. I feel that this will be the best way to represent such a heavy topic again with the Feminist movement. However, I don’t think this time I will use accompanying text as I want the images to speak for themselves and I don’t want them to be overpowered by textual information, all of the images should speak for themselves.

My biggest motivator in using this for my study in the theme of Union is the relevancy to my everyday life, these are vital and key concerns that I have to be aware of in order to be safe in society, especially when getting into relationships and going out during nightlife as there are so many incidents that happen to millions of women everyday. Having this knowledge and education is important to me because it means that I will be able to prepare myself in the case of something occurring and know where to access this support in a time of need, as well as having an instinct to prepare to defend myself in these cases.

My second reason for this is that I myself perceive myself as a feminist because I’m extremely passionate about being an activist for this inequality. This impacts my family, friends and millions of young girls and women across the world and without having a voice and standing up, nothing will change at all. All of these sub-categories within the feminist movement must be addressed because the ignorance of this could even lead to millions of deaths, and already does. Without preserving women’s rights, history will revert. My hopes in doing this is to display how important it is to be educated and aware of these things, and that they well and truly can happen to anyone even if you think it might not be you. These issues are closer to home than they are perceived and I hope to bring them to light to show that this is the reality of the world, and its important to use your voice to project what is wrong to make a difference.

References:

(1)https://www.ncdv.org.uk/domestic-abuse-statistics-uk/#:~:text=1.5%20million,compared%20to%20the%20previous%20year.

Final Finished Layout and Arrangement of Personal Project Photobook-

While these final images are not fully edited, I’ve chosen to include them in this form because they still speak strongly to the themes and visual rhythm I aimed to create. 

I’ve included them here because I feel they still capture the same outlook of what I’m trying to say visually. While working in Photoshop, I made some slight tweaks to bring out the vibrancy a bit more and to deepen the darker areas, just to give the images a little more presence and contrast. I didn’t want to overdo it, so most of the adjustments are subtle—like lifting the shadows in certain spots, slightly adjusting the color balance, and making minor changes to the exposure where it is needed. The goal was to enhance the natural texture and feeling of each image without stripping away their rawness.

The images themselves are a mix—some are close-up shots I’ve taken recently, while others are archival pieces that carry their own sense of history and weight. I think they work well together because, despite their differences in time and style, they all share a kind of intimacy and detail. Whether it’s a modern photo or an old one, each image feels like a small fragment of a larger story—something personal, textured, and a little imperfect, which is exactly what I wanted.

Even in their unfinished state, I think there’s something compelling about how they sit together on the page. and the sense of quiet cohesion is what makes them feel like part of the same stor.

That’s really what ties them all back to the title of this work: What connects us together? (translated from polish/Original Title “Co nas więżi razem?) It’s not about big, dramatic moments, it’s about the things we recognise. Familiar textures, memories, and quiet gestures that link people across time and space. The edits though being incomplete still allow the images to hold that connection. They’re fragments but together they form a bigger picture, one that speaks to relationships, history, and shared experience. These photos communicate something honest. They feel like pieces of a conversation some from the past, some from right now but all part of the same thread essentially .

Photographs used:

When creating my photobook on Lightroom classic I made sue when exporting it to the final destination Blub that all the measurments and images wee in the place I wanted them in.

The platform includes a variation of design tools, quality printing and distribution options. It also offers a range of high quality printing options which includes professional-grade paper types which is an essential option for photobooks. The quality of the paper and the print is crucial for preserving the integrity of the photos. The website also includes features of glossy or matte paper with options for lay-flat binding. It ensures that your photographs will be showcased in the best way.

If a persons work involves fine details, high printing prints are neccessary to bring out the true colour, texture, and lighting in each photograph.

It also provides an integrated online platform, where you can sell your photography book directly to the public through their website. Additionally, the platform allows you to distribute your book to other online retailers like Amazon that makes it easier for a wider audience to discover and purchase your work. This could significantly expand the reach of a photographers book without needing a traditional publisher or intermediary.

How have Historical Periods of Time influenced Architectural Changes and therefore Photographic Styles? 

Photography is a way of preserving the world around you. It allows you to capture a moment of time and freeze it. This is significant as the world we live in is ever-changing. The world changes due to different movements and events. For example, the Climate Movement has caused people to be more considerate of the environment and, as a result, produce sustainable and energy efficient buildings. People also use Photography as a way of promoting that change is needed. Similarly, the Romanticism movement, an artistic and intellectual movement during the Industrial Revolution, influenced Architects and Artists to use nature as an inspiration for their designs. As we can see, there is a tie between social activities and world development. In photography, The New Topographics Exhibition was a reaction to the Romanticism movement and idealised landscape photography. Lewis Baltz, a photographer who was associated with this exhibition, explored the beauty within the realistic, industrial environment at this time. 

Romanticism, first used as a term for aesthetic, became an artistic and intellectual movement in Europe in the late 18th Century. This movement was a reaction against the age of Enlightenment. This was when emotion had been sucked from art and literature and people focused mainly on science and logic. Romanticism was introduced during the Industrial Revolution, a time in which places such as Europe and the US experienced change in economy to one dominated by industry and machinery. The upbringing of Romanticism was heavily influenced by the political and economic atmosphere at the time and people used it as an escape from the new reality. During the Age of Romanticism, people explored the beauty of nature, emotion and life, creating an idealised reality within art and literature. This period also experienced a change in architecture, returning to medieval styles. Architects would use nature as an inspiration for their intricate designs, whilst also prioritising emotion and individualism. Furthermore, Romanticism is still present to this day. It can be found in art, music, films, literature, photography and more. An example of this would be Ansel Adams. 

Ansel Adams was a modern-day photographer who was said to have embraced Romanticism. He was known for capturing the beauty of the natural landscape in America. Ansel Adams was a big part of the Sierra club which was an organisation that worked to protect the environment from industrialisation. He would use his photographic portfolios of the areas as a way to try and convince the members of congress to turn the areas into national parks. After many failed attempts, Adams had success in creating the King’s Canyon National Park in 1940, after publishing a photo book which caught the attention of many people, including President Roosevelt.

This is a photograph which was taken by Ansel Adams and it transformed his career. At first, he had taken this photo with a yellow filter but he later changed it to a dark red filter. The dark red filter created deep shadows in this image and darkened the sky. These dark features contrast to the white of the snow and the greys of the illuminated face of the half dome. Furthermore, Ansel Adams was recognised for his use of the colour zonal system. This is a system where different tones, from black to white, are represented with a number 0-10. Adams used this system to ensure that his images display a range of both highlights, shadows and the in-between. Ultimately, Adams’ use of this system revolutionised photography by introducing a more controlled and expressive approach to landscape photography. This inspired many photographers to pay more attention to the contrast and clarity of their images.

‘The New Topographics: Photographs of a Man-Altered Landscape’ was a photographic exhibition which consisted of the work of 10 different photographers. These photographers included Lewis Baltz, Robert Adams and Bernd and Hilla Becher. The exhibition was hosted at the George Eastman Museum by William Jenkins in 1975. It consisted of 168 prints, mostly in black and white. These prints were of things such as streets, industrial sites, warehouses and suburban houses. This exhibition was a reaction against romanticism and the idealised landscape, particularly the work of Ansel Adams. Its purpose was to challenge these traditional landscapes of the untouched by documenting reality and the growing impacts of industrialisation. After the II World War, America experienced a large increase in their economy, resulting in mass production of buildings and industrial developments. These buildings were constructed for their function, rather than their appearance, leading to the introduction of modern architectural styles and less detailed/aesthetically pleasing buildings.

Although the photographers involved in The New Topographics simply displayed their everyday surroundings, the exhibition experienced a range of opinions. Many people felt responsibility towards the future of America’s landscape. This is suggested by the quote “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”. People were left feeling off-put with the representation of the American Landscape this exhibition displayed, making it one of the most groundbreaking exhibitions of the 20^th Century as it completely rewrote the rules of Landscape Photography. This exhibition displayed settings which were often hidden from the camera, settings where the impacts of man-kind are evident. It proved that landscape photography can be more than just photographing the beautiful natural scenery and that it can also be capturing the ‘unattractive’ built environment. 

Lewis Baltz, a crucial photographer of The New Topographics Exhibition, focused his work on searching for the beauty in bleakness. In an interview with Mr Witkovsky, Baltz stated that there’s an implied human presence in his work. There are traces of people but an absence of their physical presence. This is due to the fact that the subject of his photographs is the man-made environment. Baltz would capture stark images of the suburban landscape, revealing the impacts of urbanisation and mass construction. His photographs, displayed in black and white, often were geometric and bare. Many of these images were desolate and had a sense of emptiness.

This is a photograph by Lewis Baltz. It displays an empty parking lot with a garage door, a ladder and two trees. The trees in this image are an interesting feature as they emphasise the industrial, man-made environment they’re surrounded by. This creates juxtaposition and tension between nature and urban development. On the other hand, you may be able to argue that these trees are also a result of the human presence as they clearly would have been planted by a man, made evident by their positioning. Furthermore, the colours in this image are mainly white and black, with a small amount of grey. The sharp contrast and lines of the warehouse present coldness and strip away the warmth of the trees. It also emphasises the oppressive nature of industrial areas and how they are built purely for their function rather than aesthetics.

Bernd and Hilla Becher were another two photographers who were part of The New Topographics exhibition. They are best known for their method named the ‘typology’. In Carl Andre’s notes on Bernd and Hilla Becher, he stated that a ‘typology’ is simply ‘grouping similar views of different structures built to serve the same purpose’. This is evident in the image below.

This is a Typology consisting of 24 blast furnaces. These images were taken between 1969 and 1995. The blast furnaces are from locations all over the world and each have distinct features, however, they all were made for the same utilitarian function.

Previous to meeting Hilla, Bernd would produce paintings and lithographs of industrial structures. He would make these paintings from photographs, however, he soon discovered that he preferred taking the photographs than he did painting them. His interest in photography advanced and he found himself collecting old photographs of industrial structures so that he could later capture them himself. After meeting Hilla, she too became fascinated by photography and Bernd’s ideas. She soon left her job in advertising to help him. The couple would travel together and make families of objects that they discovered in their path so that they could later create a typology. From 1961 to 1965, they worked mostly in the German Ruhr district which is known as the largest Urban area in Germany and the third largest in Europe. The pair had immense interest in the fact that the industrial world would one day disappear. This is why they photographed it as they wanted to fix it. They wanted to make sure that their typologies were able to describe the structures visually so that people can read the photographs and not need to visit them as they would be unable to, due to them no longer existing. They would consider their projects as finished once the structures had been destroyed.

Additionally, in an interview with Jean-Francois Chevrier, James Lingwood and Thomas Struth, Hilla expressed that industrial structures are ‘nomadic forms of architecture’ and that they ‘come and go like nature’. Here, she is emphasising that these structures are only temporary and will be built or replaced depending on the need for them, alike nature’s lifecycle. I find this reference to nature very interesting as there’s a huge contrast between the industrial and natural world in the sense that the natural world is completely organic and untouched and the industrial world is a man-made environment which is proven to be destructive to the natural environment. In this same interview, Bernd later made another reference to nature. He claimed that ‘all these objects that are linked to industrialization are disappearing. As in the world of nature, they consume each other.’ By this, Bernd is referring to the fact that industrial objects are constantly superseded by newer, better models, alike the food chain in nature. He also stated that, the fact there is no aesthetic thinking behind the architecture for industrial structures, it proves that people are only concerned with the idea of making money fast and efficiently. These structures are not built to last or to leave an impact as they will soon be replaced. Furthermore, the couple believed that photography should be used to describe and document things which is what they did in their work as they used their typologies to document industrial architecture and emphasize its nature, function and aesthetics. 

Overall, Bernd and Hilla’s fascination in the industrial environment resulted in the upcoming of a new photographic technique, the Typology. Furthermore, the Romanticism Period, a deflection from the reality of what was happening in the world at that time, lead to people exploring the beauty of nature. Ansel Adams found inspiration from this period and, as a result, transformed photography by developing the Zone System which allowed photographers to have more precise control over exposure and contrast. He also emphasised how photography can be used to raise awareness for things, specifically environmental awareness. Finally, the New Topographics Exhibition, a reaction to the increasingly industrial environment at the time, rewrote the rules of landscape photography as it proved that landscapes didn’t have to be of the sublime nature. Rather, this exhibition demonstrated that landscape photography could be documentary and used to showcase reality, rather than hide from it.

Literary Sources/Bibliography

https://www.metmuseum.org/toah/hd/roma/hd_roma.htm

https://www.britannica.com/event/Industrial-Revolution

https://www.britannica.com/art/Romanticism

https://www.tate.org.uk/art/art-terms/n/new-topographics

https://www.artspace.com/magazine/art_101/book_report/phaidon-art-in-time-new-topographics-54444

https://www.theguardian.com/artanddesign/2010/feb/08/new-topographics-photographs-american-landscapes

https://smarthistory.org/new-topographics

Carle Andre – A Note on Bernhard and Hilla Becher (1972)

Bernd and Hilla Becher – Conversation with Jean-Francios Chevrier, James Lingwood and Thomas Struth (1989)

https://socks-studio.com/2015/10/16/absence-of-style-lewis-baltz-and-the-new-topographics/

https://emilyallenphotographyblog.blogspot.com/2016/11/the-new-topographics.html

https://www.icp.org/browse/archive/constituents/lewis-baltz?all/all/all/all/0

https://www.guggenheim.org/artwork/artist/lewis-baltz

Chosen final prints and layouts-

A4:

I decided to put these images for my final prints to be mounted on a board together as I felt that they sequenced together seamlessly. I wanted a variety of page sizes, and decided I wanted these images to be A4. These photos sequenced seamlessly to me as they present the same theme of feminism stereotypes ‘traditional housewife’ however obtain different elements in each image. This is because of the variation of angles. The first image represents the motherhood and nurturing element through the subjects hand over her slower stomach and is looking down obtaining the ‘female gaze’. Although, this does not include the symbol of heels. The second image I wanted in the middle as it is the most different to the others, and gives the illusion of the subject looking over at the left image. The bending over with the high heels with the props such as the apron and dishes, signifies more of a submissive woman in the household. Finally, the right image expresses all of these elements at once in one image, as it emphasises the jewellery, high heels and the ‘female gaze’ looking over the shoulder from a behind angle. All of which symbolise different elements within femininity and stereotypes within the 1st wave movement.

A5:

For these combination of images, I chose for these A5 images to be mounted together as I felt as if they fitted each other perfectly. I liked how the 2 on the edges worked well with each other as they are the same, but obtain different feminine poses. I wanted my middle image to break up the similarities, but at the same time to obtain relevancy. Therefore, I added this image which is one of my favorites as it is taken from above, signifying that she is submissive, and the man in the household is mostly likely dominant. Whereas the other two have a sense of independency. The middle one, the subject has hair rollers in which expresses her effort to appeal to her husband. Another reason why I decided to mount these images together is because the two images on the side, are expressing reflection (Reflections of Repression), whereas my middle image is executing the ‘female gaze’ and looking up, to emphasize this stereotype of being submissive and dominance, portraying the gender roles and power dynamics. Therefore, I really admired how all 3 images had a different meaning to interpret.

A3:

Virtual Gallery

I chose these images for my virtual gallery as they are my preferred images from my 4 photo shoots. This is why I chose these images for my final prints. Overall, I think the black and white for all of my images fit into my theme I decided to focus on. Not only this, but I believe it looks smarter and more organised when sequencing my images together. I personally like how each image has meaningful interpretations of being a woman which was my objective within this project. Although each image is layed out thoughtfully so two photos do not clash together, I liked how the first image on the left is the beginning of the feminism waves, contrasting to the last image on the right which is representing the last wave of feminism. Ultimately, expressing the change of women throughout the years and how stereotypes are ultimately formed.

Evaluation In relation to Statement of Intent

Within this personal study, looking back at my statement of intent, I stated immediately I wanted to explore the major social issues within gender, specifically women. I wanted to surround the themes of Cindy Sherman and Nan Goldin which was slightly a challenge as their work was very different in many aspects. Cindy Sherman took images of herself portraying the traditional housewife through props etc, creating cinematic and theatre play, whereas Nan Goldin linked more to realism and documented the struggles of being a women in a patriarchal society. I personally believe I balanced the two artists equally for my inspirations, and executed significant symbols through angles and lighting. I thought my development such as putting my book into symbols for each wave of the feminism movements was beneficial as it made it easier to balance both of my artist references. For example, Nan Goldin linked to my 3rd wave and slight 2nd. Whereas Cindy represented my 1st and 2nd. To continue this, I added a bit of my own thoughts of being a woman in todays society, being the 4th wave extended. This was my 4th photoshoot to represent how women feel considering the rise of social media and the pressure on young girls. Overall, my book layout came out exactly how I intended with the collaboration and mix of all the waves rather than doing them in order. I feel that I carefully selected what image to go where to emphasise the contrast significantly. My front cover being in colour differed to the rest of my book and contained significant symbolism. Lastly

Final Images

Windows-

How do these images relate to windows?

In comparison to Doug Aitken

Evaluation

Mirrors-

How do these images relate to mirrors?

In comparison to Justine Kurland

Evaluation

Windows- Contact Sheet

The images which are highlighted green are the images I have chosen to edit, because they are my best images with the best composition and layout. I also chose images with different colours in them, so I could create an image in photoshop with different colours and similar colours.

Edits

I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image would have slightly better lighting and have more vibrant blue tones.

I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image would have slightly better lighting and be more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the blacks. I did this, so that the image would be slightly more exposed so the lighting was better and the image was more vibrant.

I edited this image by increasing the contrast, shadows, whites and vibrancy, while decreasing the exposure, saturation, highlights and blacks. I did this, so that the image was slightly less exposed, so the lighting was less harsh, and so different shades and tones of the grass could be more visible.

I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image had better lighting.

I edited this image by increasing the exposure, contrast, shadows, whites and vibrancy, while decreasing the highlights, blacks and saturation. I did this, so the image would have better lighting and be more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites and vibrancy, while decreasing the highlights, blacks and saturation. I did this, so the image would have better lighting and be more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites and vibrancy, while decreasing the highlights and blacks. I did this, so the image would have better lighting and be more vibrant.

Mirrors- Contact Sheet

The images which are highlighted green are the images I have chosen to edit, because they have the best composition and layout and display the mirrors theme the best.

Edits

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image would have more contrast and better lighting.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image would have better lighting.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image would have better lighting and be more vibrant.

I edited this image by increasing the contrast, shadows, whites, vibrancy and saturation, while decreasing the exposure, highlights and blacks. I did this, so that the image would have better lighting and be more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image would have better lighting and be more vibrant.

I edited this image by increasing the exposure, contrast, shadows, whites, vibrancy and saturation, while decreasing the highlights and blacks. I did this, so that the image would have better lighting and be more vibrant.

Photoshop