possible things can take photos of –

Scrapyards, building sites, cranes, restoration yards, derelict ruins, car parks, underpass, harbours and dockyards, industrial centres, retail park, stadiums, floodlight arenas, staircases, road systems, circuit boards, pipework, telephone poles, towers, pylons, shop displays, escalators, bars, libraries, theatres and cinemas, gardens, parks, playgrounds, swimming pool

possible titles –

Dereliction / Isolation / Lonely Places / Open Spaces / Close ups / Freedom / Juxtaposition / Old and new / Erosion / Altered Landscapes / Utopia / Dystopia / Wastelands / Barren / Skyscapes / Urban Decay / Former Glories / Habitats / Social Hierarchies / Entrances and Exits / Storage / Car Parks / Looking out and Looking in / Territory / Domain / Concealed and Revealed

possible places to go –

NICHOLAS NIXON –

Nicholas Nixon (Detroit, 1947) graduated with a degree in American Literature in 1969 and went on to enroll in a postgraduate program in Fine Arts at the University of New Mexico. After completing his studies he relocated to Brookline, outside of Boston, and began his career as an independent photographer and professor of photography at Massachusetts College of Art and Design.

Influenced by photographers such as Walker Evans, his interest in portraiture and social photography is visible in renowned series such as The Brown Sisters (1975 – present) and People with AIDS (1991). Nixon has been able to portray issues related to the passing of time, intimacy, love, and illness with detail and emotion.

The photographer has received numerous awards, such as the John Simon Guggenheim Memorial Foundation Fellowship in 1977 and 1986, and the National Endowment for the Arts Photography Fellowship in 1976, 1980 and 1987. His works belong to some of the most prestigious collections worldwide including the National Gallery of Art in Washington, the Art Institute of Chicago, and La Maison Européenne de la Photographie in Paris. His photographs have been exhibited extensively including at MoMA in New York.

These images of the vast cityscapes of New York and Boston, at once both ordered and chaotic, were part of one of the most influential exhibitions of the seventies, New Topographies: Photographs of a Man-Altered Landscape at the George Eastman House.

image analysis –

visual –

within this image you can see that this is a black and white cityscape, which has a winter setting. this can be seen from the snow covered streets and cars. also the building seem like they are early to mid 20th century architecture, which suggests that its an industrialized city. which in this image you can see few or no people which emphasizing the built environment over human presence.

technical –

the image is shot from a an elevated perspective, which is an wide angle. this provides a broad view of the city. this photo has a deep depth of field, this keeps all elements sharp and in focus. there is a high contrast between the snow, dark buildings and the smoke, which enhances the texture and details.

contextual –

within this photo its likely a mid 20th century city, which is in north America, during the period of industrial and economic growth. there is also reflects of the post war urban renewal with infrastructure prioritizing efficiency and function.

conceptual –

this photo there is industrialization and modernization, you can see this from the smokestacks, large buildings and structural roadways which reflect urban growth. there are environmental impacts, this is seen in the thick smoke which suggests pollution, which is caused by industrial expansion. also the cold, structured atmosphere, which is shown in the black and white aesthetics and the winter setting evoke a sense of isolation or detachment.

artist reference –

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

• 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 –

within this image you can see that it uses natural daylight, which you can tell that it could of been taken in the middle of the day or late morning, also you can see by the shadow’s that the sun is on the left. furthermore the shadows you can see have a hard edge. and you can see in the image that its a cold light.

visual –

firstly you can see that a hard edge is seen in the image by the structure, the mountain’s in the background and the American building such as the petrol station. furthermore within the image there is some aliment with the rule of thirds, such as the bottom 3rd is all clotted with multiply aspects within it. the image has an vanishing point within the image which draws people to the centre of the image.

contextual –

you can see that in this image that industrialisation is seen and from the cars and transport show that people are connected but at the time people weren’t worried about the environment, which before cars people were isolated. but this image shows that people are now connected. also showing this is the aromatises and petrol stations. in addition within this image you can see the the main colours are red, white and blue which could represent nationalism, theses colours are the same as the American flag.

New Topographies: Photographs of a Man-Altered Landscape” was a ground-breaking exhibition of contemporary landscape photography held at the George Eastman House’s International Museum of Photography (Rochester, New York) from October 1975 to February 1976.

Their photographs depicted the built environment, suburban sprawl, industrial structures, and the mundane aspects of daily life

The New Topographies photographers, including Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Frank Gohlke, Nicholas Nixon, and Stephen Shore, 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

What was the new topographies a reaction to?

Their stark, beautifully printed images of this 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.

Panoramic Landscapes + Joiner Landscapes –

best photo and edits –

final photos –

visual gallery –

a horizontally extended visual representation providing a wide view of a landscape or other scene, in photography made by joining a series of shots or by using a wide-angle lens, and in film by pivoting the camera horizontally from a fixed place.

examples –

how to make –

Select the source images in Lightroom Classic.

For standard exposure photos, select Photo > Photo Merge > Panorama 

For exposure bracketed photos, select Photo > Photo Merge > HDR Panorama to merge them into an HDR panorama.

In the Panorama Merge Preview / HDR Panorama Merge Preview dialog box, choose a layout projection:
Spherical: Aligns and transforms the images as if they were mapped to the inside of a sphere. This projection mode is great for really wide or multirow panoramas / HDR panorama.
Perspective: Projects the panorama / HDR panorama as if it were mapped to a flat surface. Since this mode keeps straight lines straight, it is great for architectural photography. Really wide panoramas may not work well with this mode due to excessive distortion near the edges of the resulting panorama.
Cylindrical: Projects the panorama / HDR panorama as if it were mapped to the inside of a cylinder. This projection mode works really well for wide panoramas, but it also keeps vertical lines straight.All of these projection modes work equally well for both horizontal and vertical panoramas / HDR panoramas.
Cylindrical layout projection for wide panoramas/ HDR panoramas

You can use Boundary Warp slider setting (0-100) to warp panoramas / HDR panoramas to fill the canvas. Use this setting to preserve image content near the boundary of the merged image, that may otherwise be lost due to cropping. The slider controls how much Boundary Warp to apply. Higher slider value causes the boundary of the panorama/ HDR panorama to fit more closely to the surrounding rectangular frame.

Select Fill Edges to automatically fill the uneven edges of the merged image.

While previewing the panorama / HDR panorama, select Auto Crop to remove undesired areas of transparency around the merged image. 


Auto Crop to remove areas of transparency, shown in white in this illustration

To  group  the source images and the panorama / HDR panorama image into a stack (after the images are merged), select the Create Stack option. The merged panorama / HDR panorama image is displayed at the top of the stack.

Once you’ve finished making your choices, click Merge. Lightroom Classic creates the panorama / HDR panorama and places it in your catalogue.

David Hockney Joiner Photo-collage, similar style

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. By fragmenting and then reassembling the visual field, Hockney’s joiners disrupt conventional viewpoints, inviting a deeper exploration into the intricacies of perception and representation. This introduction sets the stage to dive into the impact of Hockney’s joiners, underscoring their significance in reshaping contemporary art and photography, and illuminating their influence on artists and photographers alike.

examples –

photo analysis –

within this photo u can see what he used many photos within a photo, to create this joiner photos, which he used over 700 separate photos. the artist says about his photos that its a drawing and not a photographic piece. The separate photos for the collage were taken over 8 days ( 11th-18th April 1986). This photo is called Pear blossom highway, as that is where all the photos were taken. Furthermore David Hockney described the circumstances leading to the creation of this photocollage of the scenic Pear blossom Highway north of Los Angeles, his detailed collage reveals the more mundane observations of a road trip. The littered cans and bottles and the meandering line where the pavement ends and the sand begins point to the interruption of the desert landscape by the roads cutting through it and the imprint of careless travellers.

Beauport or portlet bay or Boulay bay

these could be two possible beaches I could take photos in inspired by Ansel Adams

as u can see in the photo examples, I would take photos from these sorts of angles from on top or on the beach taking photos of the big rocks.

photoshoot – Beauport

exposure compensation –

within all of these photos iv tried using exposure compensation, which took 3 photos at a time with 3 different exposers low exposure, middle and high exposure.

best raw photos –

experimentation –

from this image I edited it using HDR merge and the edits also, plus some more but in different styles such as black and white.

from any of my edited images such as this one I have used exposure compensation, which I merged the 3 different exposures, and before I did this I changed it to black and white preset. from doing this it made an balanced exposure overall that u can see more details within the under exposed areas. But still leaving some completely back areas to make is seem like there is more drama within the image, I did this by increasing the contrast.

experimental edits –

best edits –

final photos –

visual gallery –

the final phots have been places next top my other final photos from my first photoshoot

Exposure compensation basically helps you override automatic exposure adjustments your camera makes in situations with uneven light distribution, filters, non-standard processing, or underexposure or overexposure. It lets you take control of your image’s brightness by manually increasing or decreasing exposure.

how to take –

Start with 1 stop variations. So, take a shot at -1 on the exposure compensation dial, then turn the dial so it reads -2 and then -3. Repeat, this time overexposing at +1, +2, and +3. You may not use all these images in the final HDR but it’s good to have the data just in case

Exposure bracketing is a photographic technique where multiple shots of the same scene are taken at different exposure settings to capture the full tonal range and merge them during post-processing

how to take –

In the menu, select the second tab and go to ‘Expo. Comp. /AEB

Use the dial on the top of the camera to set the range of exposure you want to capture with your 2nd and 3rd photo

After you have set the exposure range, you will see two extra marks on the exposure metre

Now take 3 photos and your camera will automatically change the exposure for each one.

TIP: You can also set the camera to continuous shooting, to take 3 photos in close succession – all you need to do is hold the shutter button down.

HDR stands for High Dynamic Range, which refers to the amount of contrast between the darkest and the lightest areas of a photograph. Most regular cameras struggle to balance photos where there is a high contrast between dark and light areas.

how to edit into –

 Open your photos in Lightroom Classic, highlight the 3 images you want to merge

Go to the top and click Photo>Photo Merge>HDR

If you’re happy with the preview, click merge

my own examples –

final image from these images – this used the merge method –

also used some of my photos that I took out of school –

with this u can see that the first photo is when its been edited using HDR on Lightroom and the one below is without.

which I also added a preset called dark drama to edit the sky and to enhance the drama within the image

merge method using better photo –

who – Ansel Easton Adams was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating “pure” photography which favoured sharp focus and the use of the full tonal range of a photograph

childhood – As a young child, Adams was injured in the San Francisco earthquake of 1906, when an aftershock threw him into a garden wall. His broken nose was never properly set, remaining crooked for the rest of his life.

Adams was a hyperactive and sickly child with few friends. Dismissed from several schools for bad behaviour, he was educated by private tutors and members of his family from the age of 12. Adams taught himself the piano, which would become his early passion.

park that inspired his photography career – Yosemite National Park

how -to cut out any trace of human activity, evoking untouched wilderness. 

sierra club – a powerful national organization that lobbied to create national parks and protect the environment from destructive development projects, which is one of the oldest environmental preservation societies. in 1927, Adams got the break that changed his life forever when he was named the sierra clubs official photographer.

other then landscape photography – Rather, in his later life, he spent most of his energy as a photographer on reinterpreting his earlier work and on editing books of his own work. an environmentalist

Kings Canyon – formed by glaciers in California’s Sierra Nevada mountains, it sits immediately to the north of world-famous Sequoia National Park, founded in the 1890s to protect the giant redwoods from logging interests. But in spite of its stunning natural beauty and its proximity to Sequoia National Park, Kings Canyon itself remained unprotected into the 1930s

But convincing Congress, thousands of miles away in Washington, to protect the High Sierra would be no easy task. – The Sierra Club entrusted the job to Ansel Adams, one of their most prominent members. He was not only familiar with the Canyon, he had photographed it extensively. Over the course of the fight to preserve Kings Canyon, Ansel lugged his portfolios from the Senate to the House and back, eventually meeting with over 40 members of Congress. Of course, the photographs themselves were stunning. But equally compelling were Ansel’s personal stories of hiking the John Muir trail—how his experiences in the High Sierra led him to devote his life to photographing + preserving America’s natural heritage.

Though the bill to create the park failed in 1936, Ansel’s fight was not done. In 1938, he published his Kings Canyon images as a book, Sierra Nevada: The John Muir Trail. The large photoengraved images, – of Kings Canyon’s soaring peaks, sunlit cliffs, and stoic sequoias. Were trimmed and individually glued onto the pages. So exquisitely were they reproduced that they have, in the years since, often been mistaken for actual photographic prints.

In 1980, President Jimmy Carter awarded him the Presidential Medal of Freedom, the nation’s highest civilian honour, for “his efforts to preserve this country’s wild and scenic areas, both on film and on earth.

Visualisation is the concept of interpreting a scene and deciding on the final shot before pressing the shutter. Taking place within the ‘mind’s eye’, as Adams often said, visualisation involves intuitively assessing a subject and choosing the most important attributes to frame and highlight.

The 11 zones in Ansel Adams’ system were defined to represent the gradation of all the different tonal values you would see in a black and white print, with zone 5 being middle grey.

analyses –

On the chilly spring morning of April 10th, 1927, Ansel Adams set out along Yosemite’s LeConte Gully to capture an image of the striking sheer face of Half Dome, one of Yosemite National Park’s most iconic natural features. – when and where photos was taken

visual – this photo has high contrast and tonal ranges, which make its seem more dramatic. to do this he used a red filter to darken the sky, which made the rock face appear more striking. the deep back and bright highlights enhance the depth + scale. which the contrast emphasizes the rugged texture of the rock + its interplay with light.

technical – within this photo he used a Panchromatic glass plate negative which captures a broad range of tones, which is important for high-contrast images. this image has likely been taken by a small aperture for a deep depth of field, also with long exposure to capture small details, this ensure clarity and sharpness throughout the image.

conceptional – with in this photo he manipulated the scene using a red filter to darken the sky and enhance contrast, this shows that its not just a photo capturing reality, its more so an artistic interpretation.

contextual -this photo was taken in 1927, this was when photography was still evolving as a fine art medium, which shows that Adam was a part of the movement to make photography go past just taking a photo of reality and instead becoming a part of fine art.

experimentation – romanticism + sublime inspired

final images –

print layout –

virtual gallery –

might possible focus on the sublime and go to plemont beach, and take the photos around the beach and in + out of the caves. would go near 3pm cause that is around about low tide

also could take photos at the top looking down and this location is good because there is no houses around in clear view.

how ever when I went down to take these photos i was unable to get down to the beach because the way down had been damaged and was under construction, but luckily was bale to sill take photos from below looking down, also as ones with big views and still with only natural landscapes.