William Klein

William Klein (April 19, 1926 – September 10, 2022) was a photographer and filmmaker who was born in America but became well-known in France. He was famous for his ironic style in both photography and filmmaking, and he used a lot of unique techniques in photojournalism and fashion photography. He was even ranked 25th on Professional Photographer’s list of the 100 most influential photographers. Klein started his career as a painter, learning from Fernand Léger, and he quickly gained recognition through exhibitions of his artwork. Eventually, he transitioned to photography and became a prominent fashion photographer for Vogue, as well as creating photo essays about different cities. In addition to that, he directed full-length fiction films, made many short and feature-length documentaries, and produced over 250 TV commercials.

Both of these photographers are some of the most influential and important photographers to date. They are both famous street photographers, Henri was French and William was a New Yorker, they both had very different approaches and views on street photography. Henri used a patient, observational technique and waited for his shot, whereas William used a confrontational, snapshot technique and got right up in peoples faces.

Observational

Observational photography is where the photographer waits for the perfect moment to take the photo, this style focuses on perfection and proper framing

Confrontational

Confrontational photography is a style of photography that is intrusive and up in the subjects face. It differs from observational as the perfect shot doesn’t exist, moreover many confrontational photos are out of focus or the subject is not framed properly, this is because it is a ‘snapshot’ style photograph.

Henri Cartier-Bresson photo analysis

Visual – The metal fence in the background almost acts as leading lines that goes with the direction of the jumping man, his reflection is also guided by the fences reflection within the water. Finally the ladder he is jumping from acts as an almost pointer like leading line in the direction he is travelling. The strong tonal range is what allows the 2D image to have so much depth, this is due to the fact that the man is nearly completely blacked out where as the water his is jumping over is on the other side of the tonal range. The black and white removes all colour from the photo, this creates a sense of nostalgia from the era this image was captured in for the viewer.

Technical – This photo used natural lighting as it was taken outside and there is also little shade, this photo appears to be taken at midday, I can tell this because of the harsh lighting and reflection off the water. The aperture was likely small, this is because everything is in focus, including the background buildings which are quite a distance away, the shutter speed was likely rather fast, this is because there is little motion blur on the jumping man.

Contextual/Conceptual – This because one of his most popular photos, revolutionising street photography and Candid photos, it perfectly represents his philosophy of the ‘Decisive Moment’. This photo proves that you can find beauty within the everyday life.

William Klein photo analysis

Visual – There is good use of the tonal range within this photo, this is due to the white background which is contrasted by the black jacket. Moreover the arrangement of the image is what makes this image so striking, although William Klein took ‘snapshots’ the gun is cleverly placed on the cross within the rule of thirds, this is what draws the views eye to the gun.

Technical – The lighting of this image is most likely natural, furthermore it was probably midday lighting as it is harsh lighting with little shadows. The aperture was likely quite large, likely f/1.8, I can predict this because the gun is out of focus but the main subjects are both in focus, the background is also sharp and in focus. The shutter speed would have been a fast one, possibly 1/500, this is due to there being no motion blur. On the other hand the ISO could have been raised slightly to something like 400, this is because of the noise within the image. Although noise is apparent, the noise added some character to the image, it gives it a sense of humanity and emphasises that it wasn’t staged and was a candid photo.

Contextual/Conceptual – “Gun 1, 103rd Street, New York,” 1954. When Klein took this photo he wanted to show the difference between emotions, he said that this image showed ‘two self-portraits’ as he saw himself within the image, the kid with the gun is when he is angry and enraged and the kid on the left is him when he is calm and happy.

Who is he?

Henri Cartier-Bresson was a French artist and a humanist photographer known as a master of candid photography and one of the first to use 35mm film. He was a pioneer in street photography and believed that photography was all about capturing a decisive moment.

The ‘Decisive Moment’

Henri Cartier-Bresson: The Decisive Moment looks into Cartier-Bresson’s significant book, which is often regarded as one of the most crucial photobooks of the 20th century. It was ground-breaking for focusing on the photograph as a distinct narrative style, and Robert Capa referred to The Decisive Moment as “a Bible for photographers.”

Some of his photos

Why is a camera an extension of the eye?

The camera is an extension of the eye because it captures the moment and freezes it in time.

What is the physical pleasure of making photographs ?

Its fun, otherwise they wouldn’t do it, you can also use the photos to look back upon, creating connections to the pictures.

How can photography be likened to hunting?

Cartier Bresson saw photography like hunting because you have to ‘hunt’ for the perfect shot.

Photo Analysis

Form – This photo shows a lady walking up stairs, at the same time the pigeons are flying everywhere, this creates a chaotic scene even though the environment is calm. The Decisive Moment has clearly been taken into consideration when this photo was taken, this is because the chaotic, fast paced and short moment was captured and then the birds flew off and the woman kept walking, turning it back into a calm scene.

Composition – The arrangement of this photo is important, the lady being behind the birds adds to the chaotic scene, furthermore the hand rail acts as a leading line going upwards, which is where the lady and birds are most probably going.

Capturing the moment – This image perfectly shows the essence of the Decisive Moment, this is due to the fact that it was taken at the perfect moment and only one photo was taken, this was not taken in a burst of photos. This style of taking photos is what Henri was famous for.

This photo shows a man taking a leap across a puddle of water, however this doesn’t do just that, this image is trying to show a leap through time, a time where photography was changed forever due to this one photo. Through the cleaver use of composition Henri as managed to use the rule of thirds to frame the man in the middle right third, this allows the views eye to be drawn to him. The metal fence in the background almost acts as leading lines that goes with the direction of the jumping man, his reflection is also guided by the fences reflection within the water. Finally the ladder he is jumping from acts as an almost pointer like leading line in the direction he is travelling. The strong tonal range is what allows the 2D image to have so much depth, this is due to the fact that the man is nearly completely blacked out where as the water his is jumping over is on the other side of the tonal range. The black and white removes all colour from the photo, this creates a sense of nostalgia from the era this image was captured in for the viewer.

Henri used a Laker Rangefinder with a 50mm lens, this was his favourite as it was compact and discrete while still shooting sharply and quickly, moreover the 50mm lens makes each photo seem as if it was shot through the perspective of the eye. The 50mm lens was ‘true to the eye’. Henri had clarity and focus throughout the photo from foreground to background, this suggests a smaller aperture, secondly a fast shutter speed would have been the case in this photo, this is because of the little motion blur on the man.

The lighting within this photo was all natural, unusually Henri made good use of the strong, mid-day light which is normally a photographers enemy, this is obvious due to the harsh, sharp reflections on the puddle. He used this to create highlights at the bottom of the frame which balances the photo out and makes good use of the otherwise negative space.

This because one of his most popular photos, revolutionising street photography and Candid photos, it perfectly represents his philosophy of the ‘Decisive Moment’. This photo proves that you can find beauty within the everyday life.

Street photography focuses of capturing candid moments of the average everyday life within public areas, moreover it focuses of people within their on environment. Its portrayed by its unmediated, spontaneous nature. It further focuses on capturing the essence of a moment, this is instead of staging or manipulating it.

History of street photography

During the beginning of street photography, street photography was not super common, this is due to the cameras of the time being too bulky and heavy. Nonetheless, the introduction of the portable camera in the early 1900s allowed photographers to take spontaneous pictures on the streets. Pioneers such as Henri Cartier-Bresson and William Klein in the 1920s and 30s, photographers laid the groundwork for contemporary street photography by utilizing handheld cameras to document daily life in the urban areas they lived in.

During the 1950s and 60s, street photography really took off because cameras and film became faster and easier to use. Photographers like Robert Frank and Garry Winogrand showcased the essence of post-war America, capturing the evolving social and political scene of the nation. In the 1970s, street photography turned more reflective, with artists like Diane Arbus and Lee Friedlander diving into themes of identity and feelings of isolation in their pieces.

Key Movements

Pictorialism : This movement emerged in the late 1800s/ early 1900s, it was identifiable by a soft focus and painting like aesthetic. Pictorialist photographers frequently took photos of urban environments and everyday life, capturing candid street scenes.

The new Vision : This movement was popularised in the 1920s and was characterised by a focus on the formal elements of photography. This includes lines/shapes and patterns. New Vision photographers often experimented with angles and perspectives to create abstract photos.

Humanism : This movement started in the 1930s and was shown by a focus on human emotion and experience. Humanist photographers usually captured candid moments of people in public areas, highlighting the struggles and joys of the average everyday life.

Documentary : This movement started in the 1930s and was characterised by a focus on social problem, issues and political events. Documentary photographers often captured images of poverty, war and social injustice. They used photography as a mean of activism and social change.

Modernism : This movement emerged in the 1950s and was characterised by a focus on the aesthetic qualities of photography, such as light, shadow, and texture. Modernist photographers most commonly captured abstract and minimalist images of the urban environment.

Postmodernism : This movement emerged in the 1980s and was highlighted by a rejection of the traditional ‘rules’ of photography. Postmodernist photographers often used irony and humour to critique society and challenge the idea of photographic truth.

IN-PUBLIC

In-Public is a global community of street photographers that works together as a group. It was founded in 2000 by Nick Turpin to unite photographers with similar interests for the purpose of organizing exhibitions, creating books, running workshops, and advancing the art of street photography.

Photoshoot plan

Where: I will go to town to take my photos as this is where I think the strongest photos will come from.

When: I am going to go around 3-4 pm as there is still plenty of light for me to take my photos

What: I will take photos of buildings and other architectural features, I will also like to find some run down buildings as I think this will be a bonus

Photos

Selection Process

My best photos

Basic editing

Edited photos

Typology experiments

My typology

Art steps

Evaluation

I believe I managed to create an effective typology of different architectural structures and buildings. I also managed to follow my original inspiration closely and produce a similar effect, however I took my own turn when I ditched the same camera angle in each photo.

What is a zine ?

A zine is a small, self-published booklet that features original or borrowed texts and images, often made using a copy machine. They are typically created by one person or a small group and are commonly printed out for sharing.

Appearance

Zine developing

Photos of my finished zine

Art steps

What are they?

A photographic typology involves examining different “types” through a series of images. Instead of focusing on individual photos, it emphasizes the idea of “collecting” images together. This approach to photography is impactful and can change how we view the world around us.

Examples

Artist analysis

Bernd and Hilla Becher

Who are they ?

Bernhard “Bernd” Becher (August 20, 1931 – June 22, 2007) and Hilla Becher, born Wobeser (September 2, 1934 – October 10, 2015), were a pair of German conceptual artists and photographers who collaborated closely. They gained recognition for their vast collection of photographs, known as typologies, which depict industrial buildings and structures, typically arranged in grid patterns. As the pioneers of what is referred to as the ‘Becher school’ or the Düsseldorf School of Photography, they left a lasting impact on many documentary photographers and artists both in Germany and internationally. Their work earned them prestigious honours, including the Erasmus Prize and the Hasselblad Award.

Examples of their work

Photo analysis

Technical – The lighting in these photos was most likely natural, this is due to all the buildings being outside, moreover the lighting is relatively soft because of the cloudy sky in the background. The aperture for this photo was most likely a high number, something like f/32, this is because everything is in focus, the ISO was probably 100 or maybe 200 because of the lack of sun and the shutter speed was probably something lower like 1/125 as to not bleach out the sky.

Visual – This is a really well thought out photo, this is because each building is different however they are all within the same kind of design style, furthermore they are all taken from a deadpan, straight on view which keeps it repetitive but still interesting. Each building is composed in the middle of the frame. The background of each photo is the same in each photo which places an emphasis on the uniformity of the images but also the simplicity due to the lack of background noise.

Contextual/Conceptual – Bernd and Hilla Becher (German, active 1959-2007)
Bernd Becher (German, 1931-2007)
Hilla Becher (German, 1934-2015)
Comparative Juxtaposition, Nine Objects, Each with a Different Function
1961-1972
Gelatin silver prints
Estate Bernd & Hilla Becher, represented by Max Becher

Recently me and my class did a whole class photo walk around Harve Depas, I collected a total of 391 images, this included photos to use for a panorama, landscapes but also some urban landscapes.

Artist analysis

Frank Gohlke

Frank Gohlke, born on April 3, 1942, is a prominent American landscape photographer. He has received two Guggenheim fellowships, two fellowships from the National Endowment for the Arts, and a Fulbright Scholar Grant. His photography is part of many prestigious collections, including those at the Museum of Modern Art in New York, the Metropolitan Museum of Art, and the Art Institute of Chicago. Gohlke was among ten photographers chosen for the influential 1975 exhibition “New Topographics: Photographs of a Man-Altered Landscape,” held at the International Museum of Photography at George Eastman House, which is now known as the George Eastman Museum. Over his nearly fifty-year career, Gohlke has captured images of grain elevators in the American Midwest, the destruction caused by a tornado in his hometown of Wichita Falls, Texas, the transformation of the landscape around Mount St. Helens after its 1980 eruption, agricultural scenes in central France, and the wild apple forests in Kazakhstan.

Some of his photos

Photo analysis

Technical – The lighting in this image is most likely natural light, its gloomy dark and cold setting, there isn’t any shadows due to the cloudy sky. The aperture was most likely a high number, something like f/32, I can tell this because everything is in focus while still being a wide angle shot.

Visual – In the foreground of this photo there is some silos, they reflect nicely off the wet road they sit on. Moreover the powerlines make good leading lines towards the vanishing point of the image which is down the end of the road, this is also where the viewers eyes are drawn to.

Contextual/ Conceptual – Grain Elevator and Lightning Flash, Lamesa, Texas, 1975.

Contact sheet

Selection process

Panoramas

I took a range of photos which I merged into one to create a panorama

My favourite photos

Basic editing

Black and white

What is it ?

New topographics is a term created by William Jenkins in 1975 to refer to a collection of American photographers, including Robert Adams and Lewis Baltz. Their work shared a common, ordinary style, characterized by formal, predominantly black and white images of urban environments.

Key features

Their photos captured the constructed surroundings, suburban expansion, industrial buildings, and the ordinary details of everyday life occurring in the American landscape after World War II, all presented with a sense of objectivity and a nearly scientific distance.

What was the new topographics a reaction to ?

The striking, well-printed images of this ordinary yet strangely captivating landscape served as both a mirror of the growing suburban environment surrounding them and a response to the oppressive nature of idealized landscape photography that glorified the natural world and its basic elements.

Robert Adams

Robert Adams, born in 1937, is a renowned American photographer known for capturing the evolving scenery of the American West. He gained recognition in the mid-1970s with his book “The New West,” published in 1974, and by being part of the 1975 exhibition “New Topographics: Photographs of a Man-Altered Landscape.” Throughout his career, he has been honoured with two Guggenheim Fellowships, a MacArthur Fellowship, the Deutsche Börse Photography Prize, and the Hasselblad Award.

His photos

Photo Analysis

Technical – The image depicts a gas station located at the border, likely taken during the evening or night since the main source of light comes from the artificial lamps that can be seen. The details in the foreground are sharp and well-defined, suggesting that a high aperture setting and a deep depth of field were utilized. Additionally, there is very little visual noise, indicating that the ISO was kept low, probably around 100.

Visual – The image is entirely in black and white, which enhances its somber mood, as the gas station seems to dominate the landscape. There’s a strong contrast between light and dark, with the gas station in the front featuring lighter shades, while the mountains in the back remain shadowy and unlit. The way the station is positioned adds a sense of depth and three-dimensionality, contributing to the overall dramatic effect.

Contextual/Conceptual – Adams was a member of The New Topographics, a movement that examined how human-made structures impact natural environments. This is evident in the image, where the gas station draws attention away from the distant mountains, highlighting the tension between artificial and natural landscapes.

Examples in Jersey

Recycling plant in St Helier

Car parks

Piers

Stephen Shore

CASE STUDY: Stephen Shore, Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975, chromogenic colour print

Analysis and discussion… starting points and key features of The New Topographics

• Foreground vs background | Dominant features
• Composition | low horizon line | Square format
• Perspective and detail / cluttering
• Wide depth of field | Large Format Camera
• Colour | impact and relevance
• Nationalism vs mobility vs isolation
• Social commentary | The American Dream ?
• An appreciation of the formal elements : line, shape, form, texture, pattern, tone etc

Technical – The lighting in this image is natural harsh but warm light, most likely a late morning or middle of day light. This type of lighting causes hard edged shadows. A large format camera with a high aperture was used to take this photo, this is how all the small details where captured within the image.

Visual – This image mostly follows the rule of thirds with a lot of horizontal and vertical lines, the horizon is in the bottom third of the image, this causes the image to seem somewhat compressed. The leading lines in the image all point towards the mountains and back to nature.

Contextual/ Conceptual – The images focal point draws the viewer towards the mountains in the background, it hints at freedom and how you can get in your car and drive anywhere, however it comes at a cost of the environment. Furthermore the red, white and and blue colours hint at the American flag.

Photoshoot plan

Where: I will go to town to take my photos as this is where I think the strongest photos will come from.

When: I am going to go around 3-4 pm as there is still plenty of light for me to take my photos

What: I will take photos of buildings and other architectural features, I will also like to find some run down buildings as I think this will be a bonus

My Photoshoot

Selection Process

My best photos

I chose these photos as they stood out the most amongst the other photos, they also follow The New Topographic style closely.

Basic editing

Black and white

By changing my images into black and white it allows me to closer relate them to The New Topographic style of photography

Further editing

Composition experiments

My final composition

Art steps

Evaluation

I believe my photos turned out really well. They stick to the original artist’s style to some degree, but I also added my own twist to the project and made some changes.

What is a Panorama ?

Panoramic photography is a type of photography, using special equipment or software, that captures images with horizontally elongated fields of view. It is sometimes known as wide format photography. The term has also been applied to a photograph that is cropped to a relatively wide aspect ratio, like the familiar letterbox format in wide-screen video.

Examples

David Hockney and Joiner photos

What are Joiner photos ?

David Hockney, a seminal figure in the Pop Art movement, revolutionised visual art with his inventive technique of creating joiners. This method, which involves piecing together a mosaic of photographs to form a cohesive image, challenges and transcends traditional perspectives in both photography and painting.

Examples

David Hockney

Who is he ?

David Hockney (born 9 July 1937) is an English painter, draughtsman, printmaker, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th and 21st centuries.

Examples of his photos

His most famous photo

This photo was made by 700 individual photos which where stitched together, each image captures close up detail and has been placed next to each other to create a bigger, detailed image.

Rural Landscapes

Ansel Adams

Who is he ?

Ansel Easton Adams, born on February 20, 1902, and passing away on April 22, 1984, was a prominent American photographer and environmentalist celebrated for his stunning black-and-white photographs of the American West. He played a key role in establishing Group f/64, a collective of photographers who promoted “pure” photography, emphasizing sharp focus and a full range of tones in their work. Along with Fred Archer, he created the Zone System, a technique that helps photographers achieve their desired final print by understanding how exposure, negative development, and printing choices affect the tonal range of an image.

Adams early life

Adams was born in the Fillmore District of San Francisco as the only child of Charles Hitchcock Adams and Olive Bray. He got his name from his uncle, Ansel Easton. His mom’s family originally came from Baltimore, where his grandfather had a successful freight-hauling business but lost a lot of money in failed mining and real estate investments in Nevada. The Adams family has roots in New England, having moved from northern Ireland in the early 1800s. His grandfather started a very successful lumber business that his dad later took over. However, as he grew older, Adams criticized the lumber industry for its role in destroying many of the redwood forests.

What inspired him?

Adams made his first trip to Yosemite National Park in 1916 with his family. He described his initial sight of the valley as an overwhelming experience, saying, “the splendor of Yosemite burst upon us and it was glorious…. One wonder after another descended upon us…. There was light everywhere…. A new era began for me.” During this visit, his father gifted him his first camera, an Eastman Kodak Brownie box camera, and he eagerly took his first photos with great excitement. The following year, he returned to Yosemite alone, equipped with better cameras and a tripod. In the winters of 1917 and 1918, he honed his darkroom skills while working part-time for a photography finishing company in San Francisco.

The Sierra club

The Sierra Club is a U.S.-based environmental group that has branches in every state, Washington D.C., and Puerto Rico. Established in 1892 in San Francisco by conservationist John Muir, it emerged from the progressive movement and became one of the earliest major organizations focused on environmental preservation globally. The club advocates for sustainable energy policies and works to combat global warming, while also opposing coal, hydropower, and nuclear energy. In elections, it typically supports liberal and progressive candidates.

1927

In 1927, Adams teamed up with Albert M. Bender, a wealthy insurance executive and supporter of the arts from San Francisco. Bender played a crucial role in helping Adams create his first portfolio in a new artistic style, titled Parmelian Prints of the High Sierras. This collection featured his iconic photograph Monolith, the Face of Half Dome, captured using his Korona view camera with glass plates and a dark red filter to enhance the tonal contrasts. During that trip, Adams had only one plate remaining, and he imagined the effect of a darkened sky before using his last shot. He later reflected, “I was able to capture an image that represented not just how the subject looked, but how it felt to me and how it would appear in the final print.” One biographer describes Monolith as Adams’s most important photograph, noting that its “extreme manipulation of tonal values” marked a significant shift from earlier photography. Adams’s idea of visualization, which he first articulated in writing in 1934, became a fundamental aspect of his photographic approach.

Other work

Between 1929 and 1942, Adams’s artistic style evolved significantly, and he gained recognition in the art world. The 1930s were especially innovative and fruitful for him. He broadened the techniques he used, focusing on intricate close-ups as well as grand landscapes, ranging from mountains to industrial sites. Bender introduced Adams to Taos, New Mexico, where he formed friendships with notable figures like poet Robinson Jeffers, artists John Marin and Georgia O’Keeffe, and photographer Paul Strand. His lively personality and impressive piano skills made him a favourite among his fellow artists. In 1930, he published his first book, Taos Pueblo, which featured text by writer Mary Hunter Austin.

Kings Canyon

Ansel Adams is recognized as one of the most important conservationists in America. While his stunning photographs played a key role in persuading people to safeguard the country’s natural wonders, he didn’t just rely on his images to make an impact. Adams actively campaigned for conservation initiatives. One of his greatest achievements was helping to establish Kings Canyon National Park. Kings Canyon, shaped by glaciers in the Sierra Nevada mountains of California, is located right next to the famous Sequoia National Park, which was created in the 1890s to protect the massive redwoods from being cut down. Despite its breath-taking scenery and close location to Sequoia, Kings Canyon was still unprotected until the 1930s. By 1936, the future of this natural marvel was at risk.

His presidential medal

He eventually got a contract with the United States Department of the Interior to take pictures of national parks. Because of his efforts and dedication to promoting these parks, which contributed to the growth of the National Park system, he received the Presidential Medal of Freedom in 1980.

Visualisation in photography

Visualization is all about imagining a scene and figuring out the best shot before actually taking the picture. As Ansel Adams often mentioned, it happens in what he called the ‘mind’s eye.’ This process means looking at a subject and instinctively picking out the key features that you want to focus on and showcase in your photo.

The zone system

The Zone System uses numbers from 0 to 10 to represent different levels of brightness. In this system, 0 stands for black, 5 is middle grey, and 10 is pure white. These brightness levels are referred to as zones. To help people easily tell these zones apart from other numbers, Adams and Archer chose to use Roman numerals instead of regular Arabic ones.

Image Analysis

Technical – The lighting in this photo is natural daylight with no artificial light. The aperture was high, something like f/22 as its a landscape photo with almost everything in focus. The shutter speed was likely to be something like 5 seconds, this is to counteract the high f stop. The ISO was likely 100 or 200 to keep the amount of noise down.

Visual – There is a lot of tone within this photo, especially the background with the snow, and likely all the numbers on the zone system have been used in this photograph. The mountains in the background create a sense of depth and add some texture to the image, especially with the snow on them. The mountains also create a good, almost symmetrical pattern as they run all the way across the image.

Contextual – “This is one of his most critically acclaimed works, exemplifying Adams’ ability to capture the rich nuance of the environment around him,” Mackay says. The picture was captured for the national parks project, started by the Department of the Interior.

Conceptual – The department had to pull back on funding when the US joined World War Two. However, Adams was motivated by the stunning beauty of the parks and a strong wish to raise awareness about their protection. In 1946 and 1948, he managed to secure two Guggenheim Foundation grants, which allowed him to keep photographing national parks all over the country.

Photoshoot plan

Where – Jersey- around the coast and sea.

What – The cliffs or sea near the lighthouse.

Who – There will be no one in my photos.

When – Late afternoon to sunset.

Contact sheet

Selection process

My best photos

Basic editing

I have done some general edits to improve my images

My best photos edited

Black and white

I edited my photos into black and white to closer relate them to Ansel Adams.

Composition Experiments

My favourite

Art steps

My second photoshoot

Selection process

My favourite photos

Basic edits

Edited photos

Black and white

Creative editing

I used the HDR setting in Lightroom and played around with the ‘Preview for SDR display’ setting to further bring out detail within the image.

Finally, I added some Vignette to draw the views eyes towards the centre point of the image.

Composition experiments

My final photo presentation

Art steps

Evaluation

This was a successful photoshoot in my opinion, my photos managed to relate to Ansel Adams photos, however I took my own turn with the photos as they all are not in black and white. To improve my photoshoot next time I would have gone on a day with clouds to create a sense of depth within the sky and background. This would also help to remove some of the harsh sunlight I had to work around during the editing.