Contextual
ANDREAS GURSKY
In his work as a German visual artist and photographer Gursky works with large format architecture and landscape photographs. He was highly influenced by British landscape photographer John Davies. Using a methodical approach and photographing the scenes from an elevated perspective Gursky captures large-scale landscape images that look vast. The enormity of the scenes is heightened by the large quantity detail in the photographs which is intensified by digital manipulation to create mind-bogglingly complexed photographs. Patterns and structures are depicted as collective rather that individual unit providing sense of impersonality.
The composition of Gurksy's photographs have elements that are similar to historical landscape paintings. However, instead of illustrating traditional landscape Gursky diverts a viewer’s attention to the landscape of ever advancing high-tech industries, concentrating on people, architecture and industries, with locations ranging from Los Angeles to Hong Kong and Dubai to Brasilia (as shown in The BRIC series). The photographs take an analytical look at the effects of globalisation and capitalism by juxtaposing contrasting urban zones.
The composition of Gurksy's photographs have elements that are similar to historical landscape paintings. However, instead of illustrating traditional landscape Gursky diverts a viewer’s attention to the landscape of ever advancing high-tech industries, concentrating on people, architecture and industries, with locations ranging from Los Angeles to Hong Kong and Dubai to Brasilia (as shown in The BRIC series). The photographs take an analytical look at the effects of globalisation and capitalism by juxtaposing contrasting urban zones.
JAMES CASEBARE
James Casebare is a contemporary artist with a focus on interior spaces. His photographs displays Casebare’s understanding of the fundamentals of architecture by capturing scenes of vacant and abandoned spaces. The rooms have an eerie atmosphere as a result of the emptiness. Whilst the small pockets of light that creep into the images signify hope, making the rooms less daunting to imagine one’s self inside. The light rays memorise a viewer, inviting them to look deeper into the images. In addition, the fact that the images are large scale makes it feel as you can walk into the photographs.
GEORGES ROUSSE
In Georges Rousse's installations he transforms abandoned buildings by using almost surgical precision to paint the spaces, making it look like two-dimensional overlays. Initially the bareness of the buildings uncomfortable, however once broken by the addition of colour the rooms become more than just another vacant space. The optical illusions, which use geometric shapes with bold colours to highlight and emphasise architectural features, are created by viewing the mind-bending installation from a single angle , creating a forced perspective.. The eye-catching colours strip back the imperfections of the buildings to make it architectural beauty more apparent before it is either redeveloped or demolished. Through taking photographs Rousse is able to create lasting forms of his installations.
iMAGE ANALYSIS: Chernobyl, Half Life - Nadav Kander
"Home to more than 40,000 people, the apartments, schools and hospitals that were hastily left following the controversial evacuation are stark reminders of past lives, leaving a disturbing sense of quite."
Nadav Kander
Nadav Kander
On April 26th 1989 the Chernobyl Nuclear plant exploded. The disaster resulted in the immediate relocation of resident in neighbouring towns, creating an 18 mile exclusion zone. The death toll caused directly by the explosion was 31. However, there are also a large number of unaccounted people impacted by long-term problems, such as cancers and deformations. The fact that the explosion formed highly radioactive products with long half-lives and fatal levels of radioactivity. As a result of this Chernobyl may still be uninhabitable for hundreds of years.
The time at which the series of images were taken was during the 20th anniversary of the Chernobyl disaster in northern Russia. In his images Kander reveals to viewers small snippets as to what the former model Soviety city was once like, taking us beyond the barriers that stopped us from seeing certain things before as we explore what was. The remains of the city's classrooms and hospitals act as a reminder of a once vibrant city along with the lives of many that were there. In a documentary about the Chernobyl the former inhabitant who visited the city for the first time found it stressful to look back at the lives they were forced the abruptly leave behind. When describing the emotions he felt when shooting the series Kander stated that he felt "an uneasiness that [he] had never previously experienced." In each of the vacant room Kander captures a snap shoot of the upsetting stillness in the entire city.
As a photographer Kander states that his intention is more about his feelings when he captures the images rather than the actual logistics of the photograph. When finalising which images to use in his collection Kander is driven by his immediate emotions and instincts as he physically tick and crosses images. Kander tries to create feelings in his photographs instead of just using photography to record moments. Kander's photographs are heavily centered on the composition of an image then the colour and tone. Through the use of using a large format view camera Kander is isolated with only the scene in front of him, invoking emotions that are then transferred onto canvas. Kander is unapologetic by the comfortableness that comes across in many of his images. In an interview Kander stated that he in facts enjoys the uncomfortable nature of an image, he even gave an anecdote about how he photographed dead flies on a newspaper using his first camera.
If Kander's work was to be categorised it would be in the genre of 'Man-altered landscapes'. In his photographs Kander explores how we exist with our surroundings, along with what we leave behind and mankind's imprints on the world. Perhaps the presence of humans in the wilderness damages the natural landscape. However, behind scenes of destruction there is a strange sense beauty, making the photograph's weirdly interesting to look at. Whilst the meaning behind the images of 'Chernobyl, half-life' is deeply upsetting the composition of the images make them aesthetically pleasing and fascinating to look at.
The series of images by Nadav Kander, Kander address a variety of wider issues. For example, in his combination of both the digital and film processes Kander brings out the inner beauty of the images. In his image 'View from Central Square Apt to Reactors 3 and 4' Kander addresses the issue of the smallness of man in comparison to the large impacts of their ideas on the environment. The image of the city scape illustrates how vast the effect of the explosion of the Chernobyl power plant had on the area. The composition of the two looming reactors in the background shows how a small power plant caused such wide spread devastation. In addition, the vacant window frames in the foreground displays how small we as individuals are the scheme of thing.
The time at which the series of images were taken was during the 20th anniversary of the Chernobyl disaster in northern Russia. In his images Kander reveals to viewers small snippets as to what the former model Soviety city was once like, taking us beyond the barriers that stopped us from seeing certain things before as we explore what was. The remains of the city's classrooms and hospitals act as a reminder of a once vibrant city along with the lives of many that were there. In a documentary about the Chernobyl the former inhabitant who visited the city for the first time found it stressful to look back at the lives they were forced the abruptly leave behind. When describing the emotions he felt when shooting the series Kander stated that he felt "an uneasiness that [he] had never previously experienced." In each of the vacant room Kander captures a snap shoot of the upsetting stillness in the entire city.
As a photographer Kander states that his intention is more about his feelings when he captures the images rather than the actual logistics of the photograph. When finalising which images to use in his collection Kander is driven by his immediate emotions and instincts as he physically tick and crosses images. Kander tries to create feelings in his photographs instead of just using photography to record moments. Kander's photographs are heavily centered on the composition of an image then the colour and tone. Through the use of using a large format view camera Kander is isolated with only the scene in front of him, invoking emotions that are then transferred onto canvas. Kander is unapologetic by the comfortableness that comes across in many of his images. In an interview Kander stated that he in facts enjoys the uncomfortable nature of an image, he even gave an anecdote about how he photographed dead flies on a newspaper using his first camera.
If Kander's work was to be categorised it would be in the genre of 'Man-altered landscapes'. In his photographs Kander explores how we exist with our surroundings, along with what we leave behind and mankind's imprints on the world. Perhaps the presence of humans in the wilderness damages the natural landscape. However, behind scenes of destruction there is a strange sense beauty, making the photograph's weirdly interesting to look at. Whilst the meaning behind the images of 'Chernobyl, half-life' is deeply upsetting the composition of the images make them aesthetically pleasing and fascinating to look at.
The series of images by Nadav Kander, Kander address a variety of wider issues. For example, in his combination of both the digital and film processes Kander brings out the inner beauty of the images. In his image 'View from Central Square Apt to Reactors 3 and 4' Kander addresses the issue of the smallness of man in comparison to the large impacts of their ideas on the environment. The image of the city scape illustrates how vast the effect of the explosion of the Chernobyl power plant had on the area. The composition of the two looming reactors in the background shows how a small power plant caused such wide spread devastation. In addition, the vacant window frames in the foreground displays how small we as individuals are the scheme of thing.
Eliot Porter
Eliot Porter’s passion for photography grew after he was introduced to and then inspired by Ansel Adams Alfred Stieglitz. Using his Linhof medium format camera Porter was part to the first few photographer who used colour in his landscaped. At the time colour photographer was underappreciated by many, as critics thought that colour ‘left little room for expression.’ The high contrasts of Porter’s landscapes was something I enjoyed as it brought the scenes to life. The negative criticism did not impact Porter as he produced natural landscape images of locations across both the Eastern and Midwestern America. One of Porter’s most acclaimed pieces was his 1968 photograph of Red River Gorge, Kentucky for Audubon magazine to publicise the beauty of the area.
A series I particularly liked was In Wildness Is the Preservation of the World as I like the fact that Porter uses photography to not only capture scene of natural beauty he also used his images a way to advocate the conservation of this splendor. An aspect that I wanted to be able to replicate in my own work was Porter’s ability to examine landscapes to find hidden structures. In an image that show the patterns created by the bark of a tree I was fascinated by how taking close up shots made the pattern look like a rose.
A series I particularly liked was In Wildness Is the Preservation of the World as I like the fact that Porter uses photography to not only capture scene of natural beauty he also used his images a way to advocate the conservation of this splendor. An aspect that I wanted to be able to replicate in my own work was Porter’s ability to examine landscapes to find hidden structures. In an image that show the patterns created by the bark of a tree I was fascinated by how taking close up shots made the pattern look like a rose.
The Formal Elaments
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Layers
Layers are formed by placing lines together in a composition, creating drama and rhythm in a piece of work. They can be the main point of interest in an image. Lines can also be used in images to convey a sense of motion or divide an image into segments that are more manageable to look at. Layers can occur naturally in environments or they can be created using editing software, for instance Photoshop.
Texture
Texture is the quality of a surface in an image. The emphasis of texture can make an image come alive by adding elements of realism and character. Examples of textures are the roughness of brick walls and the wooden textures of tree trunks and branches.
When photographing textures light has a large part to play as texture is accentuated by contrast. When a texture is along a vertical surface overhead lighting can add further dimension to the photograph, as it casts a variety of small shadows. The shadows individually create a subtle impact whilst overall have a larger impact on the aesthetic appeal.
Pattern
A pattern is created by the repetition shapes, objects or lines, they can occur naturally or be produced by editing software. An example of patterns that occur in naturally in the environment are face in a crowd or the leaves of a plant.
When photographing patterns the photographer has the ability to either emphasise a pattern. This can be done by zooming into a pattern to make it fill the entire frame. Patterns can also be emphasised by contrasting aspects of patterns. Patterns can accentuate the sense of size and perspective in an image. Pattern can also be broken up by finding objects in the pattern that interrupt a pattern. This can be achieved through contrasting colour, texture or shape.
Focus
This is created by drawing viewer’s attentions to a specific areas of an image that appears clear and sharp than the rest of it. An image can also be put out of focus to make it abstract, enabling a viewer to interpret what they see in a image.
Negative Space
Negative space is the area that surrounds the main subject (positive space) in an image. It can be used to see shapes and proportions more effectively. The use of negative space can also give an impression of openness, which can bring clarity to an image. Placing vast amounts of space around an image can make an object appear small or large drawing a viewer’s attention to the main subject.
Contrast
Contrasting the colours and tones in an image help to define elements in photograph through making a viewer's eye be drawn to certain aspects, whilst also placing an emphasis on details in a photograph. The use of contrast in images can also inspire viewers to feel particular emotions.
Scale
Scale provides a frame of reference. It can be achieved by comparing the subject to universally recognisable, giving a perspective of magnitude and dimensions. Photographers can also use the concept of scale to create optical illusions.
On a small trip to the school's abandoned swimming pool I took multiple picture which were focused on three of the eight formal elements; focus, texture and contrast. Through focusing on the formal elements to photograph mundane objects.
Layers are formed by placing lines together in a composition, creating drama and rhythm in a piece of work. They can be the main point of interest in an image. Lines can also be used in images to convey a sense of motion or divide an image into segments that are more manageable to look at. Layers can occur naturally in environments or they can be created using editing software, for instance Photoshop.
Texture
Texture is the quality of a surface in an image. The emphasis of texture can make an image come alive by adding elements of realism and character. Examples of textures are the roughness of brick walls and the wooden textures of tree trunks and branches.
When photographing textures light has a large part to play as texture is accentuated by contrast. When a texture is along a vertical surface overhead lighting can add further dimension to the photograph, as it casts a variety of small shadows. The shadows individually create a subtle impact whilst overall have a larger impact on the aesthetic appeal.
Pattern
A pattern is created by the repetition shapes, objects or lines, they can occur naturally or be produced by editing software. An example of patterns that occur in naturally in the environment are face in a crowd or the leaves of a plant.
When photographing patterns the photographer has the ability to either emphasise a pattern. This can be done by zooming into a pattern to make it fill the entire frame. Patterns can also be emphasised by contrasting aspects of patterns. Patterns can accentuate the sense of size and perspective in an image. Pattern can also be broken up by finding objects in the pattern that interrupt a pattern. This can be achieved through contrasting colour, texture or shape.
Focus
This is created by drawing viewer’s attentions to a specific areas of an image that appears clear and sharp than the rest of it. An image can also be put out of focus to make it abstract, enabling a viewer to interpret what they see in a image.
Negative Space
Negative space is the area that surrounds the main subject (positive space) in an image. It can be used to see shapes and proportions more effectively. The use of negative space can also give an impression of openness, which can bring clarity to an image. Placing vast amounts of space around an image can make an object appear small or large drawing a viewer’s attention to the main subject.
Contrast
Contrasting the colours and tones in an image help to define elements in photograph through making a viewer's eye be drawn to certain aspects, whilst also placing an emphasis on details in a photograph. The use of contrast in images can also inspire viewers to feel particular emotions.
Scale
Scale provides a frame of reference. It can be achieved by comparing the subject to universally recognisable, giving a perspective of magnitude and dimensions. Photographers can also use the concept of scale to create optical illusions.
On a small trip to the school's abandoned swimming pool I took multiple picture which were focused on three of the eight formal elements; focus, texture and contrast. Through focusing on the formal elements to photograph mundane objects.
Abandoned Swimming Pool
On a small trip to the school's abandoned swimming pool I took multiple picture. The images I took focused mainly on a selected three out of the eight formal elements; focus, texture and contrast. It was interesting to photograph the derelict environment as it had a variety of colours and texture, with detail in every corner of the plot. I used my camera to photograph mundane objects.
On a small trip to the school's abandoned swimming pool I took multiple picture. The images I took focused mainly on a selected three out of the eight formal elements; focus, texture and contrast. It was interesting to photograph the derelict environment as it had a variety of colours and texture, with detail in every corner of the plot. I used my camera to photograph mundane objects.
Click images to enlarge
Contact Sheets
Click images to enlarge
Coldfall Woods
- Value (light & dark)
- Shape
- Forms
- Space
- Texture
- Colour / tone
- Manipulate using contrat
Contact Sheet
En-Route
During a walk around my local area I capture the local environment by concentrating on photographing objects within the landscape rather than the landscape itself. Using the formal elements as the base of all of my images I focused more on the composition of each image.
A technique I particularly enjoyed using was negative space. In the image of the McDonalds cup I used negative space to make the cup contrast with the red background. The lack of movement along with the contrast creates an eerie emptiness.
Another element that I like to experiment with was texture. By photographing surfaces extremely close-up details within the materials were heightened, which was also assisted by increasing the contrasts. In the photograph of the bark distractions were removed by photographing it close-up, enabling the central focus to be on the texture.
A technique I particularly enjoyed using was negative space. In the image of the McDonalds cup I used negative space to make the cup contrast with the red background. The lack of movement along with the contrast creates an eerie emptiness.
Another element that I like to experiment with was texture. By photographing surfaces extremely close-up details within the materials were heightened, which was also assisted by increasing the contrasts. In the photograph of the bark distractions were removed by photographing it close-up, enabling the central focus to be on the texture.
MAn vs NAture
Initial Ideas
Gerry Badger
In his series Black and White 1970s Badger photographs the remnants of an abandoned building over a number of years, allowing viewers to see the grow of the flora. As time passes the progression of the sprawling weeds dominates the man-made structure of the ruins.
This series inspires me to capture how plants dominant over man-made materials such as bricks and concrete slabs. It is fascinating to think that something so delicate such as a flower manages to grow and flourish in the ruins of what was once a sturdy structure. By photographing moss and weeds growing in small places such as pavement cracks. I hope to also try and capture the delicate yet resilient nature of plants.
This series inspires me to capture how plants dominant over man-made materials such as bricks and concrete slabs. It is fascinating to think that something so delicate such as a flower manages to grow and flourish in the ruins of what was once a sturdy structure. By photographing moss and weeds growing in small places such as pavement cracks. I hope to also try and capture the delicate yet resilient nature of plants.
First Series
In the first series I took a walk around my local area, after being inspired by the my En Route project. The focus was on photographing the small pockets of life that appear amongst the cracks in an urban area. Producing close-up shot allowed me to capture the essence of a small habitat. It was fascinating to look at the variety in the types of plants in just a single crack in a pavement.
The first series showed the plants on their mini-quest to re-establish their dominance over man-made structure. On the roof the the toxic greens contrast against grey of the tiles makes the mini habitats stand out.
In my next development I am interested in increasing the scale of the habitats by photographing pockets of greenery, such as parks, amongst the much larger urban environment of the city.
The first series showed the plants on their mini-quest to re-establish their dominance over man-made structure. On the roof the the toxic greens contrast against grey of the tiles makes the mini habitats stand out.
In my next development I am interested in increasing the scale of the habitats by photographing pockets of greenery, such as parks, amongst the much larger urban environment of the city.
Second series
For my second outing of taking images I decided to continue to photograph plants closer up, but I also tried to change the scale by photographing scene where the wildlife hid parts of the urban landscape. In one of the images it looked as if the crane was tangled within a nest of branches, the elements of nature and man-made structures marry in images.
I also tried to isolate small aspect of nature in larger environments, by using very short depths of field. As a result of the small plants such as moss that grew between cracks making it look like it had been put under a magnifying glass. To further develop the concept of creating extreme close ups of nature I would combine the close up image with a wide view of the same image to contrast the two. I think that this would also enable viewers to appreciate the details in nature. The delicate details in nature is the reverse of the large geometric shapes in urban structures.
For my second outing of taking images I decided to continue to photograph plants closer up, but I also tried to change the scale by photographing scene where the wildlife hid parts of the urban landscape. In one of the images it looked as if the crane was tangled within a nest of branches, the elements of nature and man-made structures marry in images.
I also tried to isolate small aspect of nature in larger environments, by using very short depths of field. As a result of the small plants such as moss that grew between cracks making it look like it had been put under a magnifying glass. To further develop the concept of creating extreme close ups of nature I would combine the close up image with a wide view of the same image to contrast the two. I think that this would also enable viewers to appreciate the details in nature. The delicate details in nature is the reverse of the large geometric shapes in urban structures.
Third series
To create the panorama using Photoshop I blended a multiple number of images, matching similar tones together. When photographing the panorama image I hoped to try and the way in which a small pocket of wildlife within the hustle and bustle of King's Cross. Taking the photographs from a view that is tilted upwards creates a sense of the trees looming over the viewer. As a result of this the image gives a viewer the chance to appreciate even the smallest areas of nature in an urban environment.
If I were to improve the panorama I created I would have taken more time to ensure the images were blended seamlessly. In addition, I would have also used a tripod to guarantee that more of the trees were visible in the image, through using a tripod to angle the lens of the camera more upwards. Moreover, to develop the idea further I could have
To create the panorama using Photoshop I blended a multiple number of images, matching similar tones together. When photographing the panorama image I hoped to try and the way in which a small pocket of wildlife within the hustle and bustle of King's Cross. Taking the photographs from a view that is tilted upwards creates a sense of the trees looming over the viewer. As a result of this the image gives a viewer the chance to appreciate even the smallest areas of nature in an urban environment.
If I were to improve the panorama I created I would have taken more time to ensure the images were blended seamlessly. In addition, I would have also used a tripod to guarantee that more of the trees were visible in the image, through using a tripod to angle the lens of the camera more upwards. Moreover, to develop the idea further I could have
Another method I used to try and capture the same green crater of nature in London's King's Cross. Whilst the panorama I created enables viewer to view the entire environment at once the, using a GIF as a form of presenting the images I took allows to feel like they were present when the image taken. The purpose of the GIF was to try and allow a viewer to experience exactly what I experienced as I photographed the scene. If I were to continue with the concept of creating a GIF to capture the perspective being surrounded by both tree and building I would use a tripod to add stability to the GIF.
Contact Sheet
Fourth series
In this series I continued with the theme of nature reclaiming man-made structures by photographing a church that had been turned into rubble as a result of the Blitz and the Great Fire of London. The images of the moss covered masonry is a display of how when something is destroyed by man it can then be rejuvenated by nature. The tree trunk clings to the remains of charred wall as if it were trying to heal it.
It is ironic that the one of the flagships for nature’s defiance towards man-made structures is in the centre of London. This makes the secret garden even more mystical as nature preserves part of our past that could have easily been forgotten. Likewise to how mankind destroys nature by cutting forests down a tree at a time, the stems of the plants conquer each room of the church one-by-one.
It is ironic that the one of the flagships for nature’s defiance towards man-made structures is in the centre of London. This makes the secret garden even more mystical as nature preserves part of our past that could have easily been forgotten. Likewise to how mankind destroys nature by cutting forests down a tree at a time, the stems of the plants conquer each room of the church one-by-one.
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CHRISTOFFER RELANDER
“I literally photographed everything I could think of, I never left my camera at home. It wasn’t just what I photographed that was so enticing."
The We Are Nature collection from Christoffer Relander uses multiple exposures to combine natural scenes with. The surreal and dream-like photographs represent the natural elements within people giving them a whimsical feel to them. All of the images were produced in camera, without the use of editing software. Relander creates a sense of ambiguity by keeping the identities of his models anonymous which allows viewers to have their own perception. This also means that the series relates to mankind as a whole rather than specific individuals.
Although Relander’s work is heavily based on portraiture it is inspiration for me as he combined nature with human forms in one image. Following the theme of man and nature rather than man vs nature combines the two opposite to create a seamless piece of work, exhibiting the struggles as well as the harmony in their relationship.
Although Relander’s work is heavily based on portraiture it is inspiration for me as he combined nature with human forms in one image. Following the theme of man and nature rather than man vs nature combines the two opposite to create a seamless piece of work, exhibiting the struggles as well as the harmony in their relationship.
DAN MOUNTFORD
Like Christoffer Relander Dan Mountford uses double exposure to create interesting portraits, however, Mountford uses urban rather than natural landscapes to creating an additional meaning.
In some instances Mountford rotates his landscapes to make them merge in a more seamless manner. This suggests that the world fits around our lives. Moreover, the fact that urban landscapes are more specific could suggest that the landscapes have a significance to the subjects.
In an image that feature the addition of a connection of dots to his double exposure image. This addition provides a clearer view of the subject's profile. By mapping out the subject's profile preserves the subject’s identity it making the image more personal.
In some instances Mountford rotates his landscapes to make them merge in a more seamless manner. This suggests that the world fits around our lives. Moreover, the fact that urban landscapes are more specific could suggest that the landscapes have a significance to the subjects.
In an image that feature the addition of a connection of dots to his double exposure image. This addition provides a clearer view of the subject's profile. By mapping out the subject's profile preserves the subject’s identity it making the image more personal.
Fifth series
In this series I photographed scene where plants naturally interrupted shot of buildings by creeping into the frame. This was to illustrate the begin of nature’s conquest. Although in the images they look like they are a minor threat they can in fact have a large impact.
The elegant shapes of the trees complement the masculine shapes of the structures. In the series an image I particularly liked was the image that showed the silhouette of a tree in the reflection of the building as it looked otherworldly and mystical.
Gerry Badger’s Black and White 1970s inspired me to not just look at the outcome of nature overpowering man-made structure but to also document the progression. To develop my idea I am going to continue my exploration of GIFs to represent the theme of Man vs Nature by producing a GIF that shows silhouettes of trees layering up on an image of a building completely engulfing it.
In this series I photographed scene where plants naturally interrupted shot of buildings by creeping into the frame. This was to illustrate the begin of nature’s conquest. Although in the images they look like they are a minor threat they can in fact have a large impact.
The elegant shapes of the trees complement the masculine shapes of the structures. In the series an image I particularly liked was the image that showed the silhouette of a tree in the reflection of the building as it looked otherworldly and mystical.
Gerry Badger’s Black and White 1970s inspired me to not just look at the outcome of nature overpowering man-made structure but to also document the progression. To develop my idea I am going to continue my exploration of GIFs to represent the theme of Man vs Nature by producing a GIF that shows silhouettes of trees layering up on an image of a building completely engulfing it.
Click images to enlarge
Sixth series
To develop from the idea of capturing scenes where the silhouettes of trees creep into the shots I decided to physically take the silhouettes of trees and use Photoshop to layer multiple silhouettes onto the image of buildings. As a result of this I was able to combine the silhouettes of trees that may not necessarily occur in an environment naturally.
As well as using images from the previous shoot to develop my idea, the idea for layer the silhouettes of the trees also stemmed from multiple exposure photographs from the likes photographers like Christoffer Relander and Dan Mountford. To combination shows the relationship between man and nature.
The sporadic nature of the way the silhouettes engulf the screen contradicts with the geometric and orderly nature of the modern structures behind them. The additional element of silhouettes adds a more interesting extra element to the images.
In addition, the black silhouettes of the trees almost embodies the plants' violent, aggressive characteristics as they take over the screen. The jagged lines of branches look like gaggers whilst the coiled branches look like barbed wire. The plants are almost vengeful as they reclaim the space that was cleared to make way for the construction of modern buildings.
Using the GIF format to present the idea of the evolution of the plant's take over. Using the GIF format also enables an audience to appreciate the architecture of the building before it is dominated by plants. To improve the GIF the speed would have to be slowed down, by increase the time each frame is shown. As a result of this the takeover would be more evident. At its current speed the GIF is too fast to allow a viewer to focus and seen the development.
As well as using images from the previous shoot to develop my idea, the idea for layer the silhouettes of the trees also stemmed from multiple exposure photographs from the likes photographers like Christoffer Relander and Dan Mountford. To combination shows the relationship between man and nature.
The sporadic nature of the way the silhouettes engulf the screen contradicts with the geometric and orderly nature of the modern structures behind them. The additional element of silhouettes adds a more interesting extra element to the images.
In addition, the black silhouettes of the trees almost embodies the plants' violent, aggressive characteristics as they take over the screen. The jagged lines of branches look like gaggers whilst the coiled branches look like barbed wire. The plants are almost vengeful as they reclaim the space that was cleared to make way for the construction of modern buildings.
Using the GIF format to present the idea of the evolution of the plant's take over. Using the GIF format also enables an audience to appreciate the architecture of the building before it is dominated by plants. To improve the GIF the speed would have to be slowed down, by increase the time each frame is shown. As a result of this the takeover would be more evident. At its current speed the GIF is too fast to allow a viewer to focus and seen the development.
Contact Sheet
Final Idea
The initial idea of the project emanated from the initial idea of nature overpowering man.
The two GIFs I created were formed using the images of two buildings in central London, along with a plethora of images of tree silhouettes. The idea for my final piece of work was inspired by walking around London's tiny streets and alleyways. As you walk around you are surrounded by a mass of skyscrapers along with many trees. Walking amongst the large structures make me as a photograph feel menial in comparison. Both shots of the building were taken from low angles, to try and capture the magnitude of the structures. The tree silhouettes I photographed were backlit, thus making them appear darker and easier to edit using Photoshop.
My overall aim with this project was to take the title Man vs Nature and focus mainly on nature, showing how it interacts with man-made structures. Whilst plants are delicate they also have a resilient nature. Some plants have the ability to sprout up from the crevices between bricks. If given the time and nutrients a single plant could grow to surround an entire building. The two GIFs together display a progression of time as the flora conquer the buildings one by one. Even though at first a single shoot may appear to be delicate at first they have the potential to vanquish an entire building.
In my work the silhouettes are strategically layered, thus illustrating the strategic nature in which plants grow, in order to receive the optimum amount of light, nutrients and water. The way in which I layered the silhouettes is more progressive, making it look more realistic rather than just the layering of silhouettes. I think that if I were to develop the idea further I would position the plants so that they were in fact spreading across the screen towards to light. However, I found that when I tried to produce GIFs of darker buildings the the silhouettes were too dark to be visible. I contemplated changing the colour of the silhouettes to a colour other than black, however, black is the best colour to embody the almost violent and vengeful characteristics of some plants.
The GIF also refers to the feeling a person might feel as they walk into a forest in the city. As you walk deeper and deeper into the natural world you become engulfed in by the surrounding forest. It is amazing the way that when you walk into a forest and turn around to realise that the modern 21st world that lies beyond the wall of trunks is no longer visible. Although being a state of complete blackness can be considered to be somewhat frightening, as the colour black usually has negative connotation. However, I think that the blank and blackened screen has a strange sense of beauty about it. It allows a viewer to be alone with their thoughts as they are allowed to reflect on what they have seen. A viewer is given the time to interpret the work.
If I were to develop the idea further I would produce a series of GIFs that would be projected onto the walls of a large room, completely encasing it. This would give a sense of being surrounded by a plethora of buildings, thus recreating the feeling of being on a street in central London. Moreover, I would refine the GIFs themselves by making the progression of the takeover of the screen to be more seamless and look like a time-lapse. This would also mean that more silhouettes would have to be used in order for the growth of the silhouettes to appear more realistic.
The two GIFs I created were formed using the images of two buildings in central London, along with a plethora of images of tree silhouettes. The idea for my final piece of work was inspired by walking around London's tiny streets and alleyways. As you walk around you are surrounded by a mass of skyscrapers along with many trees. Walking amongst the large structures make me as a photograph feel menial in comparison. Both shots of the building were taken from low angles, to try and capture the magnitude of the structures. The tree silhouettes I photographed were backlit, thus making them appear darker and easier to edit using Photoshop.
My overall aim with this project was to take the title Man vs Nature and focus mainly on nature, showing how it interacts with man-made structures. Whilst plants are delicate they also have a resilient nature. Some plants have the ability to sprout up from the crevices between bricks. If given the time and nutrients a single plant could grow to surround an entire building. The two GIFs together display a progression of time as the flora conquer the buildings one by one. Even though at first a single shoot may appear to be delicate at first they have the potential to vanquish an entire building.
In my work the silhouettes are strategically layered, thus illustrating the strategic nature in which plants grow, in order to receive the optimum amount of light, nutrients and water. The way in which I layered the silhouettes is more progressive, making it look more realistic rather than just the layering of silhouettes. I think that if I were to develop the idea further I would position the plants so that they were in fact spreading across the screen towards to light. However, I found that when I tried to produce GIFs of darker buildings the the silhouettes were too dark to be visible. I contemplated changing the colour of the silhouettes to a colour other than black, however, black is the best colour to embody the almost violent and vengeful characteristics of some plants.
The GIF also refers to the feeling a person might feel as they walk into a forest in the city. As you walk deeper and deeper into the natural world you become engulfed in by the surrounding forest. It is amazing the way that when you walk into a forest and turn around to realise that the modern 21st world that lies beyond the wall of trunks is no longer visible. Although being a state of complete blackness can be considered to be somewhat frightening, as the colour black usually has negative connotation. However, I think that the blank and blackened screen has a strange sense of beauty about it. It allows a viewer to be alone with their thoughts as they are allowed to reflect on what they have seen. A viewer is given the time to interpret the work.
If I were to develop the idea further I would produce a series of GIFs that would be projected onto the walls of a large room, completely encasing it. This would give a sense of being surrounded by a plethora of buildings, thus recreating the feeling of being on a street in central London. Moreover, I would refine the GIFs themselves by making the progression of the takeover of the screen to be more seamless and look like a time-lapse. This would also mean that more silhouettes would have to be used in order for the growth of the silhouettes to appear more realistic.