To take these images I went down to Gorey Pier and took some images of the scenery and the man made structures . This photoshoot was a way to show the comparison of nature in juxtaposition to man-made structures.

Contact Sheet

Edited Images

These are the images I used to make my joiner photo. These are the edited versions of the images I used.

Joiner

For this joiner. I used photoshop, since I could do it manually.

Panorama

This is how I edited to make a panorama.

This is my panorama , but I filled the edges and made it spherical.

Contact sheet:

I got the chance to try and recreate the feel of Romanticism through landscape photography. While I was at the reservoir, I took around 250 photos, making sure to cover different areas of the place. I really focused on capturing the natural beauty, so I avoided including any buildings or man-made structures in the shots. This made it tricky at times because there were parts of the reservoir that I just couldn’t photograph without having something modern in the frame, like a bridge or a trail. It was a bit frustrating, but it made me think more about where I was shooting and what I was capturing. I had to be picky and really find those spots where nature felt untouched.

My best shots:

After going through all the pictures, I picked the ones I thought had the most potential for editing. At first, I chose 53 photos, but I’m planning to narrow it down even further. I’ll aim to end up with 3 to 5 solid shots that I can really focus on editing and polishing. The goal is to pick the ones that best capture the feel I’m going for without overcomplicating things. I’m looking for the images that will really pop after some editing.

I’ve since cut it down to 11 photos, which gives me a more manageable selection to work with. I also color-coded them to help me keep track of which ones I think are the best for editing. It just makes it easier to visually see which ones I like the most. I’m aiming to refine these even more and really bring out the details that could make them look even better.

Now, I’ve settled on 3 photos that I think are the strongest. I’ve marked them green to show they stand out the most and have the most potential for editing and color grading. These 3 are the ones I’ll focus on, making sure they’re as sharp and vibrant as possible. Once I get these right, I’ll be happy with the final result.

These final 3 photos represent the shots I feel best capture the essence of the landscape I wanted to portray. After carefully reviewing and narrowing down my collection, I chose these because they stand out the most in terms of composition, lighting, and how well they convey the natural beauty of the reservoir. Each one has its own unique qualities, from the way the light plays across the water to the dramatic contrast between the elements of nature. I believe these images have the most potential for editing, and I’m excited to take them through the process to really enhance their impact. These will be the key photos that help showcase the Romanticism-inspired vision I’ve been working towards.

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

in this photo there is the reflection of lines of the tower and the trees making a repetitive pattern on the sea.

These are my photos from Harve des par, I’ve edited all of them to make them black and white therefore they all look the same this way my photos look neat and organised.

Photo evaluation:

The lighting in all these photos is natural as it was during the day time however I have changed the photos from natural to black and white as it still shows good tones between the light and dark areas. the photos being black and white help the viewer not get distracted by the colours and therefore they look more into the image. it also helps tell a story by it being black and white.

Robert Adams is an American photographer who was focused on changing the landscape of the American West, He participated in the exhibition New Topographics in 1975 which gained him recognition and even resulted into him winning a few awards.

Early life

Robert Adams moved with his family multiple times throughout his childhood, he contracted polio at the age of 12 in 1949 but was able to make a healthy recovery. Adams enrolled in the University of Colorado in 1955 for his first year and then transferred to the University of Redlands California the next year where he received his PhD in English Literature. In 1963 he moved back to Colorado where he began teaching English at Colorado College and in that same year he decided to purchase a 35mm camera which he used to take pictures of nature and architecture. He learned photographic techniques from Myron Wood who was a professional photographer who lived in Colorado and in 1966 he decided to only teach part time in order to devote more of his time to photography. Around 1970 he began working as a full-time photographer.

New Topographic

Roberts Adams took part of the New Topographic Exhibition and ended up having his photos presented alongside ten other contemporary photographers, Robert Adams photos typically consisted of suburban neighbourhoods which consisted of rows or groups of houses close together or close up. Robert Adams was probably so invested into New Topographic photography as he was inspired by the man-made structures and the shift of the natural world around them slowly being replaced by big groups of buildings and houses.

Image Analysis

Technical

With this image we can see that the photo uses natural light and it has a good level of exposure as all areas of the photos are easily visible. The aperture used in this image is probably a Wide Angle in order to capture the mobile homes in the lower part of the image and to also capture the mountains in the upper part of the image. This photo may have also used a long shutter speed as it looks like the sun may not be projecting too much light due to how cloudy the sky is in this photo. The Photo also looks like it uses a low ISO setting as there is a minimal amount of grain in the image.

Visual

The image is taken in a black and white colour scheme which utilises a wide range of tones, for example we can see the shadows in the bottom of the mobile homes are very black while the colour of the walls of the mobile homes are very white which shows us the contrast of light that can be seen around the image. Texture can also be seen in this image like the walls of the mobile home where you can see the line patterns of the metal or the roof of the mobile homes where you could presumably see the build up of dirt. The view point of the image you would assume to be around the bottom of the image as the image is about new Topographics so the main focus would be on the mobile homes however Robert Adams purposely left the mountains in the background of the image to shift the persons eyes more towards that area to show them the divide between the natural landscape and the human made structures. Robert Adams even framed the image in a way so that the mobile homes would only take up one half of the image and the mountains would take up another half of the image.

Contextual

This photo taken by Robert Adams was a part of the New Topographics: Photographs of a Man-Altered Landscape Exhibition. The main aim of the New Topographic was to show the change from the natural landscapes around us to the shift towards man made structures. These photos focused heavily on industrial buildings, new homes, neighbourhoods, newly constructed roads and anything else relating to the changes happening to the natural landscape.

Conceptual

Robert Adams photo (particularly this one) was different compared to the other photographers who took photos for the new Topographics. Robert Adams instead of doing a close up shot of the man made structures, he instead decided to only capture the structures as half of the image while the other half of the image was occupied by the big mountain in the background. By doing this it makes his image more meaningful as he’s not just capturing the man made structure dead on but instead he is making a comparison in a way, by showing the natural landscape in the background created with no human intervention that is now starting to be built on and will soon become something which could remove the natural aspect of the landscape.

“Topographic” refers to the features of a surface, like mountains, valleys, rivers, and hills. It shows the shape, size and details of the land in a specific area, most of the time it’s done on an map but our goal when taking topographic photos is to capture features in there full detail.

New Topographics was a term created by William Jenkins in 1975 to describe a group of American photographers (such as Robert Adams, Hilla Becher and Lewis Baltz) whose pictures had a similar aesthetic.

The photographs were all images of non-idealized landscapes, a mundane American town and repetitive suburban areas, anonymous “strip” malls, one and two-story structures along highways, liminal urban areas each bearing witness to a potential social critique. 

Here are some image examples:

Here is a photo from Robert Adams titled “Enriched Emulsion”

Here is a photo by Lewis Baltz titled “Absence Of Style”

Here is a collection of photos by Hilla Becher titled “Preparation Plants”

New Topographics

New topographic 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.

Many of the photographers associated with new topographics including Robert Adams Lewis Baltz, Nicholas Nixon and Bernd and Hiller Becher were inspired by the man-made, selecting subject matter that was matter-of-fact. 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.

What is new Topographics a reaction to?

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.

Historical context:

• Inflation and labor 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

Common Themes and Concepts of New Topographics

Their photographs depicted the built environment, suburban sprawl, industrial structures, and the mundane aspects of daily life, that were taking place in the American landscape of the post- War 2, with a sense of objectivity and an almost scientific detachment.

ANSEL ADAMS

Ansel Adams was an American landscape photographer and environmentalist, widely known for his black and white images of the American West. He was a co-founder of Group f/64, an association of photographers advocating for “pure” photography. This approach emphasized sharp focus, a full tonal range, and precise attention to detail. To achieve this, Adams developed the Zone System, a technique designed to ensure all tonal values were represented in an image ; from pure black to pure white, with 11 shades of Gray in between.

Beyond his contributions to photography, Adams was a passionate advocate for environmental conservation. His work in national parks helped to highlight the beauty and power of nature, reinforcing the importance of preservation for future generations.

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His Photography

Ansel Adams’ photographic style is characterized by its sharp focus, exceptional detail, and dramatic use of light and shadow. He sought to capture the grandeur and beauty of the natural world, emphasizing the importance of preserving these pristine landscapes.

One of Adams’ key compositional techniques was to position the horizon about two-thirds up the frame. This choice placed emphasis on the landscape rather than the sky, enhancing the sense of scale and drama in his photographs.

Ansel Adams Photography Mood Board

Ansel Adams Photo analysis

The Tetons – Snake River

Technical Analysis

Lighting: The image features natural lighting, with strong contrasts between highlights and shadows. The light emphasizes the rugged texture of the mountains and the flowing river.

Aperture: Likely a small aperture (high f/stop), ensuring deep depth of field so that everything from the foreground to the distant mountains appears sharp and clear.

Shutter Speed: Given the clarity of the image, a fast shutter speed was likely used to prevent motion blur in the river and trees. likely above 1/200.

ISO: Likely low ISO to maintain fine detail and minimize grain, enhancing the crispness of the photograph. ( eg 100 iso)

White Balance: The black-and-white palette emphasizes tonal contrast rather than colour .

Visual Analysis

Colour & Tone: The monochrome scheme highlights the tonal range, from deep blacks in the trees to bright whites in the clouds. Which can be linked back to Ansel Adams zonal system.

Texture & Shape: The rough textures of the mountains contrast with the smooth curves of the river.

Pattern & Line: The winding Snake River creates a leading line, guiding the viewer’s eye through the landscape and into the mountains.

Composition: The river serves as a strong focal point, creating depth and movement in the image. The placement of the mountains follows the Rule of Thirds, while the sky and clouds add visual weight to the upper part of the image.

Contextual Analysis

Historical Context: Taken in 1942, this image is part of Adams’ work for the National Park Service, promoting conservation and appreciation of America’s natural beauty. It was also a period when photography was being used to document and preserve landscapes.

Personal Context: Ansel Adams was deeply committed to environmental conservation. His work played a role in shaping public perception of national parks, influencing conservation efforts.

Visual/Conceptual Contexts: This image aligns with the traditions of early landscape photography but elevates it through Adams’ mastery of composition and darkroom techniques. His use of the Zone System ensured precise control over contrast.

Cultural/Social/Political Contexts: The image embodies the American ideal of untouched wilderness, reinforcing the significance of national parks. At the time, the U.S. was involved in World War II, and Adams’ work offered a sense of peace and national pride.

Conceptual Analysis

Meaning & Idea: The photograph captures the scale and majesty of nature, emphasizing the power and beauty of the American landscape.

Theoretical Construct: Adams’ work is rooted in the philosophy of environmentalism and the idea that nature should be preserved and appreciated. His approach contrasts with the New Topographics movement, which documented human-altered landscapes in a more detached manner.

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Early Life

One of Adams’ earliest memories was witnessing the devastation of the 1906 San Francisco earthquake. At just four years old, he was thrown face-first into a garden wall by an aftershock, leaving him with a broken nose that remained crooked for the rest of his life.

In 1907, his family moved to a home near Seacliff, just south of the Presidio Army Base, with a striking view of the Golden Gate and the Marin Headlands. As a child, Adams was hyperactive, frequently ill, and prone to hypochondria. He had few friends but found solace in nature. He spent much of his time exploring Lobos Creek, Baker Beach, and the rugged coastline of Lands End; an area notorious for shipwrecks and landslides. These early experiences in the natural world would later influence his lifelong passion for landscape photography and conservation.

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Comparison of Ansel Adams and Edward Weston

Ansel Adams and Edward Weston were both pioneers of American photography, yet their artistic approaches, techniques, and subject matter were distinctly different. The Photo Literacy Matrix provides insight into their contrasting styles through the uses of technique, composition, subject, and their philosophy.

Influence and Approach to Nature

Adams on Weston’s Influence:

“I can’t tell you how swell it was to return to the freshness, the simplicity and natural strength of your photography … I am convinced that the only real security lies with a certain communion with the things of the natural world.” -Letter from Edward Weston to Ansel Adams, 1936.

While both photographers were deeply inspired by nature, Weston’s approach was more intimate and abstract, focusing on form and texture. Adams, on the other hand, sought to capture vast landscapes with unparalleled precision. This letter reflects Adams’ appreciation for Weston’s minimalist style and direct relationship with nature.

Adams on His Own Technique (Zone System)

“I developed the Zone System as a way to create consistency and accuracy in the photographic process. It was about controlling exposure and development to produce the exact tonal range I wanted. I wanted the photographs to be as precise as possible.” -Ansel Adams

Adams’ Zone System was a highly technical method, allowing photographers to control exposure and tonal values with scientific precision. In contrast, Weston was more intuitive, relying on his eye and emotional response rather than strict technical guidelines.

Weston on Adams’ Work

“There is a grandeur in Adams’ work, an extraordinary definition, but it is more than that – it is the clarity with which he sees, the care with which he interprets, and the immense patience with which he waits for the perfect light.” – Edward Weston

Weston admired Adams’ meticulous craftsmanship, patience, and ability to capture nature’s grandeur. This highlights the contrast between Adams’ structured approach and Weston’s more spontaneous, emotional engagement with his subjects.

Critical Perspectives on Adams and Weston

“Ansel Adams captured the majesty of the American West with unparalleled clarity and precision, while Edward Weston’s work transcends documentary, transforming simple forms into complex works of art that explore the depths of human experience.” -Photography Critic

This comparison underscores Adams’ reputation for technical excellence and breath-taking landscapes, while Weston is celebrated for his abstract, intimate compositions that evoke deeper artistic and emotional responses.

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ANSEL ADAMS PHOTOSHOOT

What are The New Topographics?

New topographics was a term created 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 and could sometimes be used to show the contrast between nature and the urban landscape.

Key features of the new topographics

photographs depicted the built-up environment, suburban areas, industrial structures and the mundane aspects of daily life, that were taking place in the American landscape.

Key artists of the new topographics

Many of the photographers associated with new topographics including Robert Adams, Lewis Baltz, Nicholas Nixon and Bernd and Hiller Becher who were inspired by the man-made side of the world.

What was the new topographics a reaction to?

The new topographics were a reaction to the realized change from nature to urban landscapes and reflecting juxtaposition between them, they were shown as mundane but oddly fascinating images and was a reflection of the increasingly suburbanised world around them.

Case study – Stephan Shore

Who was he –

Stephen Shore is an American photographer known for his images of scenes and objects of the banal, and for his pioneering use of color in art photography. His books include Uncommon Places and American Surfaces, photographs that he took on cross-country road trips in the 1970s.

Image analysis –

Technical –

– well lit, outside, natural lighting / outside

– shot on large format field camera

– sharp image overall while moving objects like cars are blurry

Visual –

– pavement used as line leading up to natural environment (mountains)

– Chevron signs pointing and leading to mountains

– colours shown in signs photographed represent America / American flag

– lots of different shapes, geometric

– space used with the sky taking up the majority of the image

Contextual –

– Artist in movement reflecting how new of a country is compared to old European ones

– Post world-war 2

– Taken in LA in 1975

Conceptual –

– Contrast between built up area and mountains in the background shows change in movements

Quote –

“I discovered that this camera was the technical means in photography of communicating what the world looks like in a state of heightened awareness.” – Stephan Shore

In this Photoshoot I explored the movement of water at the beach, focusing on how it constantly shifts and changes. I looked at composition, using the flow of the waves and the patterns in the water to create dynamic images. Perspective and scale were important in showing the contrast between the vastness of the sea and the smaller details, like the way water moves around rocks.  

Light played a key role in my images, as I captured how it affected the colours, shadows, and tonal value of the water throughout my images. I also focused on texture capturing the the smooth and rough parts of the water. This photoshoot allowed me to explore the way water interacts with its surroundings, creating images that capture the movement of the water.

Contact Sheet

Long Exposure

Some of my long exposure images turned out like this one (blurred) but I quite like how the misty water erupts over the rocks, it creates a sense of eeriness but in a way it’s also peaceful.

Short Exposure

I took images of the same flow of water with a short exposure to contrast the long exposure images. Which allowed me present the movement of water in different ways.

I positioned the camera down low, pointing upwards towards the waterfall so the rocks are in focus which captures how the water bubbles and moves around them.

Editing Before and After

Here I adjusted the contrast, shadows, highlights and dehaze in order to dramatize the movement of the water.

Final Images- Presented in Art Steps

I chose these 3 Images as they include both long and short exposure and they are taken from various perspectives which represent my aim for this photoshoot, which was to explore the movement of water.