P R A C T I C A L R E S P O N S E
C ON S T R U C T I N G L I G H T
For this task, we were told to capture images of models using different lights; Tungsten light, soft and harsh studio lighting, and natural light from an interior and exterior location. In order to achieve my most successful outcome, I experimented with a range of angles to not only achieve the most flattering angle for my model, but also to create the most visually creative outcome. For instance, in the soft studio lighting, I chose an image that featured the model's shadow behind him, to create an effective and grabbing photograph. Below is my final outcomes.
T U N G S T E N L I G H T
S E L E C T E D I M A G E S
H A R S H S T U D I O L I G H T
S E L E C T E D I M A G E S
S O F T S T U D I O L I G H T
S E L E C T E D I M A G E S
C O L O U R E D I T S
B L A C K A N D W H I T E E D I T S
I N T E R I O R N A T U R A L L I G H T
S E L E C T E D I M A G E S
E X T E R I O R N A T U R A L L I G H T
S E L E C T E D I M A G E S
R E S P O N S E
For my first response, I begun going round my local area Muswell Hill and captured a range of people, from all ages and backgrounds that I could find, creating variety within my work. These images told a lot about the demographic in the area, showing that it was primarily a wealthy area as people included were either in smart clothing or in work clothing. Thus my work was less shocking than Richard Avedon's, however still supplied a similar effect. Below is my contact sheet and selected images that I have edited on photoshop.
S E L E C T E D I M A G E S
E X P A N S I O N
For my expansion, I decided to imitate the work of Marcus Lyon and re-edit the images into colour. I felt this would then involve more aspects and allow the viewer to read more into the photograph. For instance, the colour of their clothes often imitates the person's mood or personality. Thus although the black and white images prior result in an effective outcome, I wanted to also supply the coloured images to allow a contrast in outcomes. Below is my outcome.
P E R S O N A L P R O J E C T
L I G H T & S H A D O W
My chosen brief is Light & Shadow, where I am going to explore how artists manipulate these aspects to create a range of effects. I decided to expand upon this, creating both a pintrest board and a mind-map to illustrate my thoughts. Below demonstrates my ideas on this personal brief.
V I S U A L R E P R E S E N T A T I O N
To visually represent my ideas and thoughts surrounding my brief, I created a pinterest board and pined images that inspired me, surrounding this topic. I found a variety of representation of my brief, giving me a variety of ideas for my starting points. Below is my pint rested board and my mind map below.
S T A R T I N G P O I N T S
1. Silhouette photography - here i will explore capturing shadows and silhouettes constructed by high contrast edits through platforms such as photoshop and composing the shot through specific lighting.
2. Narrative photography - when responding to this starting point, I will look at different aspects of society and capture their representation through adjusting the light and shadow. For instance, when looking at the bleaker, poorer parts of society I will create a darker, mysterious shot, and perhaps enhance this through a monochromatic edit.
3. Abstract photography - I also decided that abstract photography should be another one of my starting points, as lighting enables a lot of experimentation within your work. Thus I will be experimenting with different forms of lighting and concepts to create these unique outcomes.
4. Night photography - for my last starting point, I decided to chose night photography as this theme is highly based on a lack of light. Therefore, when responding i will look at unique ways to capture differential environments, through lighting, composition and experimentation.
2. Narrative photography - when responding to this starting point, I will look at different aspects of society and capture their representation through adjusting the light and shadow. For instance, when looking at the bleaker, poorer parts of society I will create a darker, mysterious shot, and perhaps enhance this through a monochromatic edit.
3. Abstract photography - I also decided that abstract photography should be another one of my starting points, as lighting enables a lot of experimentation within your work. Thus I will be experimenting with different forms of lighting and concepts to create these unique outcomes.
4. Night photography - for my last starting point, I decided to chose night photography as this theme is highly based on a lack of light. Therefore, when responding i will look at unique ways to capture differential environments, through lighting, composition and experimentation.
1. S I L H O U E T T E P H O T O G R A P H Y
For my first starting point, I decided to look at Silhouette photography. To fully explore this concept, I have chosen to experiment with both darkroom and digital techniques. For my darkroom exploration, I will focus my work on the style of Floris Neussus. Whereas, with my digital experimentation I will look at the work of Rupert Vandervell and how his street photography approach, and manipulation of light create these visually inspiring images. Below I have began my darkroom experimentation.
D A R K R O O M :
F L O R I S N E U S S U S
Floris Neusüss was born in Remscheid Lennep, Germany, in 1937 and currently lives and works in Kassel, Germany. Neusüss is thought to of pioneered photographic art, through his camera-less approach and photogram focus. Alongside this, he is also known as an influential teacher and writer on his cameraless photographic focus.
Above are a series of images created by Floris Neususs. Neususs has a range of influences from Bauhaus, Surrealism, performance art movements that emerged during the sixties, and other artists for instance, Man Ray and Moholy-Nagy, who encouraged him as a young man to become a photogram artist himself. His technique used throughout the 1960s consists of auto-reversal standard silver bromide paper to make black figures be produced against a white backgrounds. This process then not only presents a silhouette but adds surrealistic aspects to the image due to different body parts being different distances from the paper, adding dimension and a sense of weightlessness. This is an aspect I aim to imitate in my work.
R E S P O N S E
For my response to Neussüs' work I decided to experiment with smaller body parts, for instance hands. Even though his work tends to involve scale as a prominent aspect, I wanted to experimentation into this concept with smaller components. Below is my best outcomes.
Evaluation - after experimenting in the darkroom I learned a variety of aspects. Primarily, to create the perfect image, similar to Floris Neususs' it takes patience and often requires a lot of attempts experimenting with different light intensities, angles and models in order to result in an effective image. This is something I would like to take to capturing my digital side of the concept. Although capturing these images digitally may require less technicality, aspects such as the precise moment will be vital in order to capture an affect image.
D I G I T A L :
R U P E R T V A N D E R V E L L
Rupert Vandervell was born and is based in London. His photographic style was self taught, when, as a teenager he developed his style shooting landscape and architectural images. This allowed his photographs to be representative of his personality and interests, demonstrating geometric shapes and minimalistic form.
Above are two images of Vandervell's from his series Man on Earth. Man on Earth, published May 2013, encompasses themes of mankind’s relationship with the world we live in and its effect on our daily lives. Vandervell’s objective in this series was to highlight the urban environment we surround ourselves with and contrast it to the small yet important presence of life within it. In doing so, this gave a strong sense of isolation to his images; a feeling of being trapped within this empowering architectural world. Vandervell’s technique to capture this image begins with the Olympus EM-5 with 20mm pancake lens. His choice stems from his necessity to have a lightweight and easy to conceal DSLR, which simplified the process. In order to create this silhouetted aesthetic Vandervell would manipulate the natural lighting to create this shadowed piece. For instance, aspects such as time of day where the sun was in the sky, the weather conditions and more would all impact the look of the image. These are all factors that I will consider when capturing my images, in order to create a similar style to that of Vandervell's.
R E S P O N S E
Although sourcing Rupert Vandervell as my inspiration, I decided to capture the digital approach, as I thought this was a more direct progression from the darkroom outcome. To create this response, I made a model dance around in front of a very bright light as I captured her shadow on the background behind. I believe this resulted in a more effective outcome than the darkroom response, as there is a more complex composition and a sense of movement. Below is my contact sheet and selected edits.
S E L E C T E D E D I T S
2. N A R R A T I V E P H O T O G R A P H Y
My next starting point, I decided to look at Narrative photography. In this segment I will focus on how artists manipulate light and shadow in effect to create a more powerfully emotive outcome. To do this, I will look at artist who deal with bleak, gritty aspects of society and their stories, and in contrast look at photographers who deal with the rich, privileged aspects of society. My primary influence for this strand is Boogie, who's influential street photography exploring bleak topics such as drugs, gangs and violence, documenting the people involved and showing society the negative aspects that are often ignored or brushed away. However, to contrast this I will look at Dougie Wallace's project on"Harrodsburg".
T H E P O R T R A I T
For this task, we looked at the work of Marcus Lyon and Richard Avedon for inspiration for images where the context is removed and the subject is isolated, highlighting their cultural identity. In order to execute this task properly, I did artist analysis on one of the artists to discover the principles behind their work. Once I had gained significant te on how the artist captured their work, I could then go on and imitate their style to my best ability. Below is my artist analysis.
R I C H A R D A V E D O N
Richard Avedon (1923-2004) was born and lived in New York City. His interest in photography began at an early age, and he joined the Young Men's Hebrew Association camera club when he was just twelve years old. At the age of twenty-two, Avedon began working as a freelance photographer, primarily for Harper’s Bazaar. Initially denied the use of a studio by the magazine, he photographed models and fashions on the streets, in nightclubs, at the circus, on the beach and at other uncommon locations, employing the endless resourcefulness and inventiveness that became a hallmark of his art. Under Brodovitch’s tutelage, he quickly became the lead photographer for Harper’s Bazaar.
The images I have chosen to feature are all from "In the American West" This was evidently Avendon's version of the West and some people who live there. Avedon's own statements project the work as an invention, "this is fictional West," Avedon said, " I don't think the West of these portraits is any more conclusive than the West of John Wayne." A number of factors suggest that Avedon's outlook was broader and that he wants these photographs to represent a certain kind of truth of what it is really like in the West.
The images I have chosen to feature are all from "In the American West" This was evidently Avendon's version of the West and some people who live there. Avedon's own statements project the work as an invention, "this is fictional West," Avedon said, " I don't think the West of these portraits is any more conclusive than the West of John Wayne." A number of factors suggest that Avedon's outlook was broader and that he wants these photographs to represent a certain kind of truth of what it is really like in the West.
Left- This photograph features a young adult holding a headless snake which he presumably, just killed. This boy named Boyd Fortin, a thirteen year old from Sweetwater, Texas was photographed in March, 1979. The headless rattlesnake appears to be gutted, it's insides a slimy, webbed mass in his hands and on his clothing, which is also smeared with blood. Boyd Fortin expression is hardened which suggests that he is putting on a role and that he has become emune to the nature of this task and environment he is in. This shows the poor conditions he is in and how at such a young age he was doing tasks such as these, which highlight the major issues in places such as the West at that time.
Centre- In this image, Avedon captures a bald albino with stretchmarks on his stomach taken against a white background. The overly white man can only then be distinguished most by the pattern of dark bees that crawls on his skin. This man named Ronald Fischer was a beekeeper from Davis California and was photographed in May, 1981. The portrait evidently involved more set up than many of the others might due to the fact that Fischer is covered in bees. Fischer's expression in this image combined with the effect of this image creats a very intriguing image especially as his eyes seem as though he is in a trance. They not only appear to be in a trance but are glassy and unfocused creating little character in his face which makes Fischer a curiosity for those viewing the image.
Right- This is a picture of Sandra Bennett, a twelve year old from Rocky Ford, Colorado, 1980. This is one of Avedon's most prominent photographs as her image became the representative of Avedon's Western project since it was used mostly for publicity purposes. Her portrait was often the first seen upon entering his exhibitions, "In the American West." Sandra Bennett is at the brink of womanhood, this is especially shown by her childish-like clothing and her lively, freckled skin which shouts innocence and youth. The focus of this image being her gaze, which is straightforward, directly into the camera as though she is looking deep into your soul which I think is particularly grasping about this image. They(her eyes) also are beautifully shaped and light in colour which is contrasted with her dark lashes and also heightened by Avedon's stark photographic methods. All in all this image grasped my attention and I like the fact that it was so simple yet it had this much effect.
Centre- In this image, Avedon captures a bald albino with stretchmarks on his stomach taken against a white background. The overly white man can only then be distinguished most by the pattern of dark bees that crawls on his skin. This man named Ronald Fischer was a beekeeper from Davis California and was photographed in May, 1981. The portrait evidently involved more set up than many of the others might due to the fact that Fischer is covered in bees. Fischer's expression in this image combined with the effect of this image creats a very intriguing image especially as his eyes seem as though he is in a trance. They not only appear to be in a trance but are glassy and unfocused creating little character in his face which makes Fischer a curiosity for those viewing the image.
Right- This is a picture of Sandra Bennett, a twelve year old from Rocky Ford, Colorado, 1980. This is one of Avedon's most prominent photographs as her image became the representative of Avedon's Western project since it was used mostly for publicity purposes. Her portrait was often the first seen upon entering his exhibitions, "In the American West." Sandra Bennett is at the brink of womanhood, this is especially shown by her childish-like clothing and her lively, freckled skin which shouts innocence and youth. The focus of this image being her gaze, which is straightforward, directly into the camera as though she is looking deep into your soul which I think is particularly grasping about this image. They(her eyes) also are beautifully shaped and light in colour which is contrasted with her dark lashes and also heightened by Avedon's stark photographic methods. All in all this image grasped my attention and I like the fact that it was so simple yet it had this much effect.
B L E A K S O C I E T Y
B O O G I E
Vladimir Milivojevich, famously known as Boogie, is a Serbian photographer, born in 1969 in Belgrade, the capital of what was then Yugoslavia. Boogie was given his first camera by his father, who was an amateur photographer, which gave him the resources to document his city and in degradation during the 1990s.
Boogie’s focus on capturing the more darker themes of society stems from his upbringing and his early exposure to Belgrade transformation from a peaceful city into a war struck and poverty ridden metropolis. Boogie speaks about the horror of living under the presidency of Slobodan Milosevic, where pensions and salaries were around three to five United States dollars causing major socio-economic societal issues.
F I R S T R E S P O N S E : B E R L I N
My first response was captured in Berlin. I decided to take the images on the tube as this was often a busy, lively cluster of people, in which I had close access to capture these images. In order to capture these photographs without being noticed led me to experiment with a range of devices. First I experimented with my Nikon DSLR, however I found this raised issues when capturing as the sound and size make me very distinct and noticeable, creating an ineffective outcome. I then decided to use my iPhone 7, which I found to be more effective. It had no sound and was much smaller, meaning I could capture people naturally without being noticed. I believe my outcome shows I captured the street photography style evident in Boogie's photography, however my images often did not involve the dark, bleak aspects of society, which is something I will focus on when reshooting in London. Below is my contact sheet and selected images.
S E L E C T E D I M A G E S
R E S P O N S E T W O : L O N D O N
For my second response, I captured my images in London, contrasting to the images I did previously in Berlin. However, I knew that location was important, thus to take these images I didn't want to visit central London as often areas in this district are highly weathly and therefore wouldn't fit my brief. Thus, I decided to visit Walthemstow and walked down the local hughstreet, capturing the people that live there in there natural environment, doing mundane things. For instance, my main focus when photographing was capturing the market as this took up the majority of the street and featured many locals sourcing supplies of food and clothing from it. Below is my contact sheet and selected images. When editing my photographs, I used photoshop and turned them black and white, adjusted the levels, curves, and exposure to result in the outcome below.
S E L E C T E D I M A G E S
R I C H S O C I E T Y
D O U G I E W A L L A C E
Dougie Wallace is an east London-based photographer, who grew up in Glasgow. He is internationally recognised for his social documentary style of street photography. His work has received critical acclaim, through his series "Harrodsburg"winning the inauguaral 'Magnum Photography Award 2016'. Below is a selected of images from his series, 'Harrodsburg', which primarily captures rich elites through an invasive style, sometimes even without consent.
I was particularly drawn to his images through its interesting representation of the richer aspects of society. In many of his images, the people featured are wearing abstract clothes, for instance in the third image above features a woman wearing a scarf made out of an animal. His style is often captured through an invasive, decisive moment, capturing often angry, negative reactions from people. This is something I will look to for inspiration, when capturing my response.
R E S P O N S E
For my response, I decided to experiment with film, capturing my friends. I noticed his work captured the rich with flash, so to imitate his style I also used this process. I believe I began to capture this theme to riches with the clothes featured in the images, for instance, one of the male models featured is wearing a burberry scarf. Below is my selected images.
S E L E C T E D I M A G E S
3. A B S T R A C T I O N
For this starting point, I aim to focus on a more experimental approach to photography, looking at how different styles of light and shadow can create a unique, abstract image. In this strand, I will focus on a range of components within this theme, for instance abstract lights, vs abstract themes. In order to construct this strand
H A M B U R G E R B A H N O F G A L L E R Y
During my visit to Berlin, I went to the Hamburger Bahnof Gallery, in which showcased an exhibition combining colourful projections and physical aspects of the natural environment, for instance rocks and sand. This surrealist piece stood out to me for its unique interpretation of abstraction. Below are a series of images I captured of this exhibition, demonstrating the inspiration to my work.
R E S P O N S E
To respond to this visit I decided to recreate a similar scene and capture images of it. For my main subject, I scrunched up a piece of paper and then projected different coloured lights on it. In doing so, this created a unique result. Below is my contact sheets and final images.
S E L E C T E D I M A G E S
B L U E :
R E D :
A R T I S T A N D M E
D A N I O L I V I E R
Dani Olivier is a French photographer, based in Paris. His work focuses on experimental photographic work, of colourful effects typically on naked women, ranging from 2014 to the present day. He creates these effects through the use of modern technology, projecting complex imagery and intricate patterns onto his models. Furthermore, he uses a simple black background to draw the audiences attention onto the patterns and the model, resulting in surreal experimental pieces, in which confer a new dimensional approach to the art and photography of nude imagery.
R E S P O N S E O N E
After looking at the work of both the artists at the Hamburger Bahnof Gallery exhibition and the work of Dani Oliver, I was inspired to respond in a similar form. To begin I started my using images i found on the internet, searching in images part of google, 'Abstraction'. After finding these images I then chose a model and projected them onto her. I decided to chose a female model as in many of Oliver's pieces he uses a women, enhancing their form through the use of abstract projections. After capturing these images, I edited them on photoshop, manipulating the background with the paintbrush tool and making it black. Below is my contact sheet and responses.
S E L E C T E D I M A G E S
R E S P O N S E T W O
For my second response, I decided to expand upon the projection concept. Therefore, I got two models to pose in from of a projector and captured a range of images in front of them, as demonstrated in my contact sheet below. After that, I then edited them on photoshop. I adjusted the hue/saturation of the images and changed the opacity of multiple layers to add a disordered, double exposure effect. Below are the results.
S E L E C T E D I M A G E S
R E S P O N S E T H R E E
To expand upon this concept, I wanted to take a normal image and experiment with different styles post-production. Thus, the image below demonstrates the image i chose and below that, I have shown my results and explain how I got to that point.
S E L E C T E D E D I T S
I exposed the acetitate form of the image using the enlarger onto photographic paper so that the image became a negative. I then developed the image, dried it and put it into bleach in attempt of mimicking Seund-Hwan Oh's style. I then used a sharp intrustment to stratch out the eyes to create a horror like scenario. I then used a orange sheet of plastic and physically placed it on top of my original image to experiment with different styles.
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For this image, I used photographic card to expose my image on. I then exposed it for less to create a strange effect, almost as though the faces have been distorted. To expand I experimented using yellow filter paper over the corner of this image. I decided to do this angle as it isn't conventional, something abstraction doesn't involve. So in doing this i was experimenting which i feel resulted in an effective outcome.
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I edited this image on photoshop using multiple layers and changing the hues of both of the images to add contrast. I also cut interesting random shapes out of the above layer to develop the contrast further.
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I used the liquify tool and distorted the background, leaving the models faces remain normal. I then added new layers focusing on the scratched out eyes and every time I made the layers smaller to create an interesting effect. I then reused the liquify tool and made sure the edges of the layers curved as well so the whole image had an element of flow and continuity.
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E X P A N S I O N
After experimenting with colour projection, I decided to refine my response and look at more simpler compositional aspects to the image. For instance, going back to the projection itself and reining it through making it simple lines and patterns, rather than extensive patterns and changing the colour to black and white, to focus more on the light and shadow brief. Below is my contact sheet and best outcome.Furthermore, I have explained my photoshop process in achieving this result.
S E L E C T E D I M A G E S
My process to create the photograph on the right was done using photoshop. To begin with I cropped the image to my desired size, and turned in black and white. This is seen in the image on the left. Afterwards I selected the female model's face and filled the background in with black paint. I then adjusted the levels and curves to enhance the contrast. Below is my outcome.
4. N I G H T P H O T O G R A P H Y
Night photography refers to photographing during the night hours, resulting in images of a different nature. Everything looks different at night, for instances bridges, attractions and buildings, will be brightly lit at night, creating a spectacle. Furthermore, experimenting with light at night can be more abstract. To explore this concept, I will look at a range of photographers who have their own take on this concept, creating visually inspiring outcomes. To begin, I will look at the work of Giles Coulon.
G I L L E S C O U L O N
Giles Coulon is a french photographer who began his career photographing different facets of French society. He has done many topics during his line of work which include, "White Night" and "Daily Life". "White Night" was a photographic research project on light bulbs and how they could be portrayed around the world in different environments and aspects of life, these were mostly done in hap hazards and situations. The project carried out over a period of four years.
Above presents a range of Coulon's work. Throughout his work, there is a constant haunting impression, given from the contrast between the bright light focus surrounded by darkness. The location is a major aspect to his images, making mundane aspects become that of a different nature at night, an eerie, desolate place. Giles Coloun mentioned that neon was an essential and universal tool, present in South and North areas and gives new life to the image.
R E S P O N S E O N E : T H E B O I L E R R O O M
As Giles Coulon's work primarily focuses on location, I decided to begin my shooting in the boiler room at school. This room has a very eerie, creepy atmosphere, almost something seen in a horror film. The strip lighting in here supplied a good focus for the photograph, allowing a focus. However, in order to create a similar effect to Coulon's, I edited my chosen images in photoshop, where I adjusted the levels, curves, saturation, exposure, and experimented with the burn tool to further extenuate the darkness. Below is my contact sheet and chosen edited photographs.
S E L E C T E D I M A G E S
R E S P O N S E T W O : L O C A L A R E A
For my second response, I decided to use night light, as Coulon does to create the contrast between the bright light source and the surrounding darkness. To do this I explored my local area at nighttime capturing any sources of light in attempt to imitate his style. The technique I used to capture these photographs involved using a tripod to create stability and focus, vital for the longer shutter speeds, and long shutter speeds, ranging from 1/8 to 5 seconds, depending on how bright the light source was and how near it was to the camera. I then went home and put my most effective images into photoshop where I experimented with a range of components to create a more visually stimulating result. Below is my contact sheet and selected edits.
S E L E C T E D I M A G E S
A R T I S T A N D M E
When editing my images, I attempt to construct it in a similar style to James Frank Tribble's. I believe my use of a black surrounding background, is successfully similar to that of Tribble's. Additionally, I highlighted the colours to set up a contrast between the darkness and the bright subject, creating a sense of isolation. Below I have positioned our photographs next to each other to exhibit my imitation.
T H I R D R E S P O N S E : B E R L I N
After experimenting further with different environments, I decided to capture some images imitating Coulon's style during my visit to Berlin. In order to create the most effective outcome, I focused primarily on locations, capturing these images in a tube station.
S E L E C T E D I M A G E S
F O R T H R E S P O N S E : A L E X A N D R A P A L A C E
For my third response, I decided to expand this concept of concentrated light sources, surrounded by darkness, in a more natural environment. Thus I explored Alexandra Palace during the night, and captured photographs where there was an oblivious
S E L E C T E D I M A G E S
E V A L U A T I O N
After experimenting with Coulon, through a variety of responses I decided to expand upon the concept in two different contrasting environments, urban vs natural. When looking at the urban environment at night I will go to more central locations looking for neon lights within the bustling city. However, for my natural environment strand I will focus on isolated greenery, experimenting in a range of way to capture these structures at night. Below is a map mind illustrating how I got to this point and then my response to both the natural and urban environments.
1. U R B A N E N V I R O N M E N T S
I decided to look at the urban environment at night, as I believe its nature changes, becoming something that can be feared by individuals. I wanted to particularly explore this perceived threat, and discovered if there was actually one. Furthermore, I wanted to examine how different photographers utilise light available in these hours to create visually pleasing images.
D E V E L O P M E N T O N E
B R A S S A I
Gyula Halasz, otherwise known as Brassai, was born September 1899 in Brasso, Transylvania and passed away in 1984 in Eze, France. He was most famously remembered as a Hungarian-French photographer but also has talents in sculpting, writing and filmmaking. As a young adult, Brassai attended the Hungarian Academy of Fine Arts in Budapest, where he studied painting and sculpture.
R E S P O N S E O N E
To respond to this I visited my local area and captured images were the light source was available, just as Brassai did during the thirties in Paris. Using this same technique, resulting in an interesting result. I edited these images on photoshop, turning them black and white and enhancing their luminosity by creating a greater contrast between the subject and the background. Below is my outcome.
S E L E C T E D I M A G E S
E X P A N S I O N
After responding to Brassai, I was partially drawn to the second image in my selected edits due to its focus on the interior captured from an exterior perspective. Therefore, to expand upon this, I decided to look at Nadav Kander and a series he captured called The Parade and Coastal drive. Below is my response.
N A D A V K A N D E R
Nadav Kander was born December 1961 and is a London-based photographer/artist, known for his effective style of portraiture and landscape photography. I was strongly drawn to this series, which offers revealing moments of ordinary domesticity in a typical English suburban environment. This voyeristic approach of capturing images of these people in their personal and natural environment gives the audience incite into how these different people have constructed their life: aesthetically via their architectural style and via their chosen interior design. I also was particularly drawn to Kander's choice in capturing these images at night so that there was a strong and evident contrast allowing the viewers focus to be drawn into the interior of the houses. This then further enhance the patterns evident in these scenes. So, in response to Kander I will attempt to capture images in the same style.
R E S P O N S E
In response to Nadav Kander's "Parade and Coastal drive" I walked around my local area at night and looked for interesting and contrasting interiors. I then captured as many different windows as I could attempting the voyersitic style in which Kander approached his work. Below is my contact sheet and my selected images.
S E L E C T E D I M A G E S
D E V E L O P M E N T T W O
For my second development of urban environments, I wanted to look at lights present within them. Thus to begin this development, I went around central london and just observed the different lights present. From doing this I noticed there was a large amount of neon lights and signs. Then, when i went to Berlin I visited the Hamburger Bahnof Gallery and my idea was reinforced through the Desde El Jardin exhibition, demonstrated below.
H A M B U R G E R B A H N H O F G A L L E R Y
D E S D E E L J A R D I N
During my visit to Berlin, I went to the Hamburger Bahnhof Gallery, in which featured a range of art and photography exhibitions. One of which was called 'Desde El Jardin'. 'Desde El Jardin' was a spanish exhibition focused on bright colours, neon lights and abstract themes. Entering the exhibition, the artists recreated mundane aspects such as a hairdressers or an office but recreated its aesthetic to be that of bright lights and colours. Below is some images I captured during my visit, demonstrated below.
R E S P O N S E O N E
For my response, I went round my local area capturing any neon lights and signs at night. I found that a majority of the shops had them, thus i was very selective with my response, only using the most effective. Below is my contact sheet and selected images.
S E L E C T E D I M A G E S
R E S P O N S E T W O
B R U C E N A U M A N
Bruce Nauman is an American artist. His practice spans a broad range of media including sculpture, photography, neon, video, drawing, printmaking, and performance. Nauman lives near Galisteo, New Mexico. Nauman was less focused on neon as an expressive medium than as a reference to American consumer culture and a vehicle for his bold statements, questioning the role and function of art in society.
R E S P O N S E
For this response I decided to visit God's Own Junkyard as this displayed an extensive range of neon lights collectively displayed in a large room. When capturing my images I wanted to include as many neon lights in it, like Bruce Nauman's image on the far left above. Below is my contact sheet and selected outcome.
S E L E C T E D I M A G E S
E X P A N S I O N
After visiting God's Own Junkyard, I was inspired by this collective display of neon lights. Thus I decided to experiment with this concept further on photoshop. To do this, I selected the neon signs i wanted using the Magnetic Lasso Tool, tracing around the sign, then I copy and pasted the signs onto a plain black background I created prior. Next, I arranged them similarly to how they were presented at God's Own Junkyard. Lastly, I selected all the layers and merged them together and edited all the saturation, levels and curves to result in the image below.
F U R T H E R E X P A N S I O N
To further expand this concept, I decided to make a gif out of it. I used the same process to make this gif however I screenshotted each time i added one more time. I then put them into a file and uploaded them into a stake. Then I went to window->animation. Next, I pressed the button on the top right hand side of the animation bar, and selected the 'make layers into frames'. I then highlighted all the frames and changed the flow, so that there was a 0.2 second between each frame. Below is my outcome.
2 . N A T U R A L E N V I R O N M E N T
After experimenting with the urban environment, I decided also to look at the natural environment, as I thought this would act as an interesting contrast. Furthermore, this would also create a sense of challenge in my work, through the inherently difficult conditions apparent in nighttime photography, particularly with nature. Thus I believe that overcoming these challenges will result in an unusual, unique outcome. Below are my developments.
D E V E L O P M E N T O N E
For my first development, I wanted to experiment with capturing plants during the day. In doing this, i will gain confidence capturing wildlife in contrasting forms and thus be able to capture wildlife more effectively during difficult conditions, such as a lack of light. Below is my first attempt.
M Y O U N G H O L E E
Myoung Ho Lee is a young artist born in South Korea. He has produced an extensive elaborate series of photographs that focus on projecting different representations of reality, art and environmental themes. His work tends to consist of simple conceptual elements but are executed in complex form resulting in an unusual outcome. Below is a selection of photographs from Myoung Ho Lee's series "Trees" in which he takes a simple natural object like a tree and separates it from its natural environment using an immense white background. This then allows us not only to look at the natural environment surrounding the object but also to focus in more depth at the object thus appearing how it would in a painting or photograph on a billboard.
I was strongly drawn to these three images as I thought they showed the contrast between different environments present in our natural world. The first image ( on the left ) represents a cold, snowy surrounding with an almost misty background highlighting the focus of the tree centre stage. Here the photography act is strongly shown as the subject is decontextualised and presents an isolated variant due to the fact that nothing withstands the stark cold winter snow. The decontextualised element is also present in the second image ( in the middle ) due to the stark isolation. I really liked the simplicity in this image the washy smooth blue sky against the brown textured rough floor create an interesting visual effect originating from the strong contrast. The contrast is also present in the focus on the image with the white background against the dark tree allowing the structural elements of the natural element chosen to be highlighted. Additionally, this contrast allows it to further stand out against it's isolated surroundings. The theme of isolation is also present in the last image I chose ( on the right ) which presents an autumnal aura. Here the shape of the tree strongly drew me revealing its structural components demonstrating its characteristics, such as the fact it flows in the wind. The colour of the tree is strongly complimented to the floor demonstrating the chosen executed and effective composition. Lastly, it is evident Myoung Ho Lee maintains a link between his work, here the theme of isolation is prominent hinting to environmental impacts that humans could be having upon the natural world thus resulting in an extremely effective outcome due to its clever composition and through provoking impacts.
R E S P O N S E
For my response to Myoung Ho Lee's work, I visited a local area, Coldfall Woods with my camera and white card. I then positioned the white card behind a selected plant and took a range of close up images and wide angle ones to replicate the same style he emits in his impressive work. Below is my contact sheets and response.
B E F O R E
When taking these images I tried to keep the whole background white and in focus. I also concerntrated on capturing the detailed structure presented by these natural plants. Then on photoshop i enhanced these factors by created a bigger contrast which for example brought out the depth in the leaves stems in image one.
C L O S E U P :
When taking these images I concerntrated on capturing the detailed structure presented by these natural plants. Maintain this, and in focus, I was then able to enhanced these factors on Photoshop, creating a bigger contrast which had a range of effects on the aesthetic result, such as emphasising the depth in the leaves stems.
W I D E A N G L E :
By capturing this wide angle shot featuring the piece of white paper behind the focus enabled a easy edit so I could remember where the close up shot would be placed. Additionally, it enabled me to have a preview of the final outcome to see whether it would result in an effective result. Lastly, I could of just used these as the final images in response to Myoung Ho Lee however, by editing the close ups over enabled a more detailed focus and added more depth to the image. Looking at the images below it is evident that they haven't reached there full potential, particularly seen in image two where the paper is over exposed.
A F T E R
I then put both images into photoshop and put the close up image on top of the wide angle to result in a more effective and visual pleasing outcome. Below is my most effective outcomes.
D E V E L O P M E N T T W O
After capturing photographs of plants against white backgrounds, I wanted to expand upon this concept of examining the planet in more depth. Therefore, I decided to look at the work of Sanna Kannisto. This involved capturing images of plants as scientific displays. This use of experimentation will contribute to when attempting to capture detail during the night. Furthermore, looking closer at the plant against a white background, allows the theme of isolation to be carried through my work.
S A N N A K A N N I S T O
Sanna Kannisto is an artist who currently lives and works in Helsinki. Born in 1974 in Finland, Kannisto explores her photographic theories and concepts from an approach of nature in art and science. By combining the two, she uses both methods of representation via art and those in natural sciences too. This series below was captured in Peru, French Guiana, Brazil and Coasta Rica upon which these unique, interesting plants and animals were all those that she studied, staged and photographed in a staged manner. Below are three examples I was strongly drawn too.
My primary response to these images focused on the fact that the style of photographic approach was so different yet effective. The use of the white background correlated to the natural scientific side to her style but also allowed the subject to stand out even more, amplifying the effect. Additionally, by including the science equipment such as the metal stands in which she attached the extravagant plants and animals too signified the connection between nature and science, almost replicating a real experiment studying these ravishing pieces of nature. This style is very unique, and allows for limits and obstacles both in the research side but also in her photography, yet at the same time are mutually supportive of one another. Thus, I believe Kannisto is very effective at present these beautiful natural structures present in our environment and therefore I will use this approach and imitate it to attempt to achieve a similar outcome.
R E S P O N S E O N E
For my response, I collected a range of different flowers and plants to create variety in my outcome. I then positioned them on a metal stand, like Kannisto did with her work, in attempt to achieve a similar outcome. I also placed the subject against a white background too, which made the focus stand out even more. Below is my contact sheet and selected images.
S E L E C T E D I M A G E S
R E S P O N S E T W O
I then did a second response where I pushed the boundaries away from replicating the exact style of Kannisto, and transformed her concept into my own unique perspective. In order to do this, I attempted to involve the scientific equipment and the plant/flower in the image but taken from a unique angle or a close up thus utilising her style but pushing the boundaries even further. Below is my contact sheet and my selected images.
S E L E C T E D I M A G E S
D E V E L O P M E N T T H R E E
For my third development, i wanted to experiment with the images I had already captured and see if there was more unique form of translating this isolation theme that has become apparent throughout my developments. Therefore, I looked at Diana Bielik, but rather than imitating her film approach I decided to attempt to respond using photoshop. In doing so, this expanded my confidence experimenting with natural subjects on editing platforms.
D I A N E B I E L I K
Diane Bielik is a British photographer who's work explores common themes of impermanence, commemoration and death. Below is three images from her "I AM THE DOOR" collection, made and presented in 2016. This series focuses on photographs of blossom. Some images are carefully constructed in the studio using blossom cut from the tree, left to wither and then painted and suspended in artificial skies.However, others are images made quickly on location using cheap basic cameras. Below are three I was strongly drawn to.
I was particularly inspired by Bielik's work through its isolation of the blossom tree. I also was drawn to its unique composition via its deconstruction of the surrounding elements. The reconstructive element of the blossom tree allows for it to strongly stand out and act as a focus for the viewer. Furthermore, the use of stark colours acts as a virtual background which I believe strongly correlate to the theme of impermanence, present throughout her work. Thus her composition of this plant is very effective and something I aim to replicate in my response and throughout my work with further responses.
R E S P O N S E
Instead of using film and manipulating the outcome to recreate this unique creative outcome I decided to use digital images and manipulate them in photoshop to recreate the same effect. To do this I selected the flower using the quick selection tool then inverse selected the background and deleted it. I then created a new white layer filled it with a complimenting colour, such as blue, and then selected a barrier round the edge, and filled it with the darker colour, replicating the style of Diane Bielik. I then selected filter -> filter gallery -> then film grain. This added the same effect the film camera projects upon the images. Lastly, I put the selected flower onto the blue background and merged the layers, to finalise the image. Below is my outcomes
P R O C E S S
O U T C O M E S
E V A L U A T I O N
After experimenting with these different forms of capturing the natural environment, I felt I was able to capture nature during more difficult, darker conditions. Below I have presented the three different experiments which have lead to my development four; a focus on wildlife at night. Experiment one taught me the importance of highlighting the subject within a whole scene. Experiment two showed me an examination of wildlife on a more personal, scientific approach. Lastly, experiment three taught me how to manipulate the final outcome of an image, taking the subject away from its natural environment and transforming its aesthetic in photoshop to become that of a more surreal outcome. All three developments involved the theme of isolation, which is something I am particularly drawn to, an aspect I wish to continue throughout my later developments. Finally, I believe that learning all these techniques have successfully prepared me to approach night photography of nature.
D E V E L O P M E N T F O U R
For my forth development, I decided to begin with the most basic form of capturing nature at night. Therefore, I decided to look at Grant Simon Rogers, who's photographs capture both trees and flowers during night hours. In looking at him, I beleive this will begin my experimental approach into night photography.
G R A N T S I M O N R O G E R S
Photographer Grant Simon Rogers is an amateur photographer, who has little information about himself online apart from his Flickr account. His images consist of simple concepts and are rarely processed accepted minor tweaks such as cropping the image square. All of his photographs are captured with flash to create his unique style. Below are three images I selected from his flickr account.
I chose these images of Grant Simon Roger's as they were very striking. By capturing these innocent natural objects at night with flash, Rogers creates a unique perspective of nature, almost never discovered before. I was also drawn to these image by the lack of contrast they have, demonstrating the effortlessness of his response. This is something i will look to do in my response.
F I R S T R E S P O N S E
For my first response, I decided to go to my local park, Alexandra Palace, shown on the map below. I went at night so that the images would result in a similar outcome to that of Grant Simon Roger's. Furthermore, I captured any plants and flowers using my camera flash, as I thought this would result in an effective outcome. Below is my contact sheet and selected images, edited on photoshop.
S E L E C T E D I M A G E S
S E C O N D R E S P O N S E
For my second response, I decided to experiment with the process in the studio. Thus i brought in flowers and small plants I found present in my local area. In order to integrate this process within the subject, I went into a dark room and shined a bright flash light on the plants, at varied angles. By doing this, it created variety in my response and each position of the light created a unique outcome. Below is my contact sheet and selected images edited using photoshop.
S E L E C T E D I M A G E S
D E V E L O P M E N T F I V E
For my fifth development of natural landscapes, I wanted to almost expand upon my previous development, Grant Simon Rogers. I really benefitted from bringing the objects into the studio and capturing them in a differing envrionment, close up. Therefore to further develop this concept, I decided to look at the work of Charles Gervais, who's work focuses on a singular subject, which is often sourced from nature. This refinement will allow me to further isolate the subject, contributing to a theme I wish to carry throughout.
C H A R L E S G E R V A I S
Charles Gervais is a Canadian artist who is responsible for the photographs presented below. They are all part of his project "One Beautiful Thing" in which he captures something he finds beautiful every week. These leaves are ones he found years ago and had promptly forgot about them allowing them to mature and transform into a leaf with added shape and texture creating a more exciting outcome.
I was strongly drawn to these images primarily for their striking composition, in which Gervais hung these specimens on black thread to create this distinctive and isolated outcome. I liked the fact the background is dark, allowing the leaf to become the focus to the audience. In doing this, it creates an aesthetic where the image could almost of been taken at night, and thus the details and its intricacy is highlighted, showing its unique structure. Additionally, the fact that he has chosen to take these leaves out of their natural environment and capture them in an alien situation allows the leaf to act as though it is a specimen being observed for scientific use. These aspect is something I would like to replicate in my own work as I believe it demonstrates these isolated physical structure of these natural objects in a unique and striking form.
R E S P O N S E
To create these images below I first captured pictures of the leave against a dark background with strong lights to highlight the leaf. Once the images had been captured I chose my favourite photos in which I thought would work the best to achieve the most effective outcome and began to edit them in photoshop. I first selected the background using the quick selection tool, once the background was selected I used the black paintbrush and coloured the background in to replicate Gervais' style. Next, I went to image then adjustments and then made the image black and white. Then I added levels, curves and adjusted the exposure, offset and gamma radiation, in order to create more contrast and blend the edges of the leaf into the background ever so slightly so that there wasn't a distinct edge, as this looked unproffesonal. Lastly, to finalise the photograph I used the black paint brush again and changed the opacity to a low percentage to blend the sharp edges, creating a more effective outcome. Below is my contact sheets and my two final outcomes.
S E L E C T E D I M A G E S
D E V E L O P M E N T S I X
After looking at nature, I noticed a pattern in which I was exploring nature at a closer and closer proximity, examining the subject to a more specific and detailed level. Therefore, I decided to continue this, looking at nature at an even more defined perspective, isolating the natural form even more. I also wanted to focus more on presenting the structure of these specimens, and how light and shadow is effected because of it. Thus this lead me to look at Skeleton leaves. Skeleton leaves are a process than can be applied to natural leaves to reveal the "skeleton" of viens. In order to fully execute this I looked at Lemony Shots, as shown below.
L E M O N Y S H O T S
"I am an unabashed garden creeper, alley lurker, hedge gazer, barn stalker, sidewalk sprawler, insect enthusiast, creek straddler, and frozen pond fanatic, compelled to capture the world up close." Lemony Shots. I chose to use Lemony Shots as my primal inspiration for skeleton leaves for her focus on the concept. In addition, her variety of composition and colour enabled a striking outcome and unique representation of them. The use of a macro len here in images two and three have allowed the audience to view the intricate structure of the skeleton leaf up close. It almost distorts the image into something pattern-like. The use of colour in image one and three contrast to the leaf in the foreground of the image, making it stand out to the viewer, drawing their attention. I was mostly inspired by the compositional techniques used and thus will encompass this influence into my work. Additionally, I will attempt to experiment with different uses of light and colour.
R E S P O N S E
For my response I wanted to use Shots's technique of using a macro lens to get an extreme close up providing a detailed look at the skeleton leaf. So I used a combination of a macro lens and a normal lens to capture these images to create a unique range of outcomes. Below is my contact sheet and outcomes.
P R O C E S S
1. Chose your selected leaves- waxier leaves take longer in this process as there is more to break down so stick to leaves that are large and green from for instance, a Maple tree.
2. Add 600ml of biological detergent for every 1 pint of water into a saucepan with the leaves. As seen in the image on the right. 3. Boil this mixture for 30 minutes, when leaves have broken down. 4. Remove from the heat and rinse leaves gently. 5. Using a paint brush with harsh bristles brush away old leaf tissue to reveal the skeleton leaf. This process is very time consuming so be patient. 6. Rinse again to remove any old leaf residue. 7. Lastly, press leaves between two pieces of blotting paper and allow to dry for 2 weeks. 8. After the two weeks, they are ready to use. |
S E L E C T E D I M A G E S
D E V E L O P M E N T S I X
After looking at natural subjects at close proximity, I wanted to bring my focus back to looking at nature in a slightly more wider perspective, finding alternative forms to present nature in a night time context. To re-create this 'night time' effect I decided to look at different experimental process, such as in the dark room. In doing so, this resulted in a unique outcome. Below is my responses.
R E S P O N S E O N E
For my first response, I wanted to look at Cyanotypes. A cyanotypes is a photographic printing process that produces a cyan-blue print. In the 20th century, engineers used them as a simple and low-cost process to produce copies of drawings, often referred to as blueprints. I decided to experiment with the cyanotype process as the final aesthetic produced this deep blue background, which I felt was similar to that of a night's sky. Below is my artist inspiration and attempts.
A N N A A T K I N S
Anna Atkins was a famous botanist and photographer, situated in the 20th century. Her work is often considered to be by the first women to create a photograph and the first person to publish an illustrated book featuring a range of her photographic images. Her photographic interest was sparked by her friendship with William Henry Fox Talbot who taught her about his "photogenic drawing" technique and calotypes. This enabled her work to have influence from his techniques, hence the exposing an image via the use of sun focus in her work. Below is three impressive examples of Anna Atkins's.
I chose these images for their striking demeanours. I was particularly drawn to the first image on the left in which features a range of skeleton-like leaves allowing the viewer to see more that a white silhouette but almost inside the structure, delving deeper. This can also be seen in the image in the centre which shows that the edges are thinner than the thicker stems in the centre of the plant, creating variety within this scenario. This is something I will attempt to do in my work as I present the structures of different elements of nature. Additionally, the element of simplicity makes these images deem more powerful. The fact that it shows the honest beauty of these specimens, often taken advantage by people every day, transformed by the use of bright blue and white, almost allowing these structures to possess more importance, correlating to the connotations of white: innocence, purity and goodness. The colour of perfection. This is something I wish to bestow upon spectators viewing my work too and thus I will attempt to imitate Atkins's style.
P R O C E S S
1. Mix 25g of Ferric ammonium citrate with water and 10 grams of Potassium ferricyanide with water. These two solutions should then be blended together in equal parts.
2. Select the material you want the cyanotype to develop on: paper, card, textile or any other naturally absorbent material.
3. Once the material is selected, paint the cyanotype solution onto it and allow to dry for at least an hour. This step should be performed in the dark room so the paper doesn't expose.
4. Select your chosen objects and chose your composition, as once you have laid your objects onto the material you cannot move them as this will effect the exposure and thus you may risk them not showing up.
5. Place your objects onto your material and expose using UV light, such as the sun, a light box or a UV lamp. You should allow the image to expose for around 5-10 minutes.
6. Once the time is up, take the objects off. You should begin to see the objects coming through but not too well.
7. After exposure the material is processed by simply rinsing it with water. This will reveal a white print on a blue background. To have the most effective outcome, you should allow your images to be rinsed for 10 minutes.
8. Take your images out of the water and leave to dry for 24 hours.
2. Select the material you want the cyanotype to develop on: paper, card, textile or any other naturally absorbent material.
3. Once the material is selected, paint the cyanotype solution onto it and allow to dry for at least an hour. This step should be performed in the dark room so the paper doesn't expose.
4. Select your chosen objects and chose your composition, as once you have laid your objects onto the material you cannot move them as this will effect the exposure and thus you may risk them not showing up.
5. Place your objects onto your material and expose using UV light, such as the sun, a light box or a UV lamp. You should allow the image to expose for around 5-10 minutes.
6. Once the time is up, take the objects off. You should begin to see the objects coming through but not too well.
7. After exposure the material is processed by simply rinsing it with water. This will reveal a white print on a blue background. To have the most effective outcome, you should allow your images to be rinsed for 10 minutes.
8. Take your images out of the water and leave to dry for 24 hours.
R E S P O N S E O N E
For my first attempt I tried using sunlight. This meant I had to place the objects onto the special paper with a glass sheet over the top of it so the objects didn't move from wind and other factors, the allow the sun to expose it. However, the day I chose to experiment with this method was quite cloudy which affected by results. To the right is an image of me attempting this process, and below, is my attempts which I have scanned in. |
R E S P O N S E T W O
In order to experiment with this concept, below I attempted different timings to see the best method. So I experimented with 10 and 20 minutes. Below is my outcome.
1 0 M I N U T E S :
2 0 M I N U T E S :
R E S P O N S E T W O
For my second response to this development, i almost wanted to expand upon the first response of 'cynaotypes'. Looking at the strengths and weakness of the final result of the cyanotype responses, I decided to then experiment in the dark room with photograms. This further developed the idea of replicating the night sky by enhancing the darkness and contrast between the natural subject and the background. Below is my artist inspiration and response.
R O X A N N E W O R T H I N G T O N
Roxanne Worthington is an artist who's focal interest is fine art. She uses photography as a medium that grants her access to express herself. Her work originated in the darkroom but has more recently become more expressive with the use of alternative process. Below is three images from her series "Breath". This line of work is all about different ways of looking, the alternative perspectives that can be viewed from one photograph, for example the image on the right demonstrates the beauty of this flower and its bloom, but also a flower that is slowly 'dieting' by being squashed between two pieces of glass.
chose these three images as I thought they were the most effective. They present an extremely crisp and clean outcome, making her prints appear interesting. The evolution of camera task and working in the darkroom created a unique outcome that transformed these simplistic natural organisms into a new perspective of looking at them. The use of photograms have allowed the viewer to focus on the structure of these different plants and in doing so almost transforms the image into a unique form. For my response, I wanted to look into the idea of creating these photograms as her work looks a lot like X-rays of the plants making her work look very anatomical as you can see the different areas of the flowers/ leaves that you can't see with the naked eye, which intrigued me. So in order to do this I will work in the dark room with a range of plants to create the same effect.
R E S P O N S E O N E
For my first response, I decided to imitate Roxanne Worthington's exact style. Therefore, I collected plants from my local area and brought them into the dark room to experiment. I decided to place them at random places in the photogram to create a disorderly feel, something that naturally occurs in the environment anyway. Below is my outcomes.
R E S P O N S E T W O
To create the same outcome as Worthington's, I printed pictures I captured of plants in Alexandra Palace. I then printed them on acetate so I could use these in the darkroom. Once the images were printed on acetate, I was able to experiment with this concept further via different techniques. For instance, painting with developer. This is when you use a paintbrush to paint the developer over the image in your chosen form. This results in a unique outcome, offering a interesting perspective. Below is my results.
B E F O R E
A F T E R
D E V E L O P M E N T S E V E N
After experimenting in differing forms, I then decided to create an experimental college response to the images I captured for my Grant Simon Roger's response. In order to execute this I will be looking at artist Benoit Paille, a photographer who captures images of nature in abrupt, colourful scenarios. Below is my research into the artist and my response.
B E N O I T P A I L L É
Benoit Paillé is a French-Canadian photographer. He studied medical biology for a number of years before pursing photography, where he taught himself. Photographing portraits of experimental scenes of nature, he aims to create a surreal outcome taking them spontaneously and only using the flash as it appears. Below are some examples of his work.
R E S P O N S E
For my response, I decided to use the images I had captured for my Grant Simon Roger's second response and manipulate their form on photoshop to recreate an outcome similar to that of Benoit Paillé. Below I have attached a gallery displaying the steps I used to created my two final outcomes demonstrated beyond the gallery.
P R O C E S S
S E L E C T E D I M A G E S
D E V E L O P M E N T E I G H T
After experimenting in development seven, I wanted to further expand upon the idea of combining the flash procedure with colour, and going back into nature and capturing that colour on location. Therefore, to develop this concept, I decided to look at the work of Patrick Fraser, and respond to his work, as demonstrated below.
P A T R I C K F R A S E R
Patrick Fraser is a British photographer and filmmaker. Currently based in California, he photographs a range of images from editorial features in magazines such as Vanity Fair, British Vogue and Esquire, shooting campaigns for many leading US brands including Google, Microsoft, Pinterest and Hilton Hotels and his own portrait work which has been exhibited at the National Portrait Gallery, in London. His portrait work consists of many projects for instance, "Fairground Youth", "Silica", "Ambulantes", "Take me to Tahiti" and finally "Varnish Trees", as exhibited below. The process behind this series has little information on, however it appears to involve using a bright coloured light source at night upon nature.
R E S P O N S E
For my response, I knew I wanted to create a similar aesthetic outcome to Patrick Fraser's, yet as I had no information on the composition of his images I had to experiment in attempt to achieve a similar result. I decided to visit the Kew Garden's Christmas Show, in which involved many bright colour lights projected upon trees. Therefore, I captured my response here as I felt it was a suitable environment. Below is my contact sheet and selected outcomes.
S E L E C T E D I M A G E S
D E V E L O P M E N T N I N E
For my fourth development, I wanted to look at another way of capturing the natural environment at night. I also wanted to see how I could maintain the theme of loneliness via the adjustment in composition.To begin this idea, I decided to visit the photographer's gallery which was had an exhibition of Gregory Crewdson. Below is more information.
G A L L E R Y V I S I T : G R E G O R Y C R E W D S O N
Gregory Crewdson is an American photographer who was born September 1962, in Brooklyn, New York. Crewdson began experimenting with photography during his years at Purchase College, State University of New York, in which he gained recognition and became increasingly interested in the world of art. Later, he attended Yale University, where he completed his Masters in Fine Arts, in which his thesis centred around the mundane rituals of the residents in Lee, Massachusetts through portraiture. Thus this began his entrance to his preoccupation in art photography. His images create a seamlessly real effect, which are elaborately staged and are a cohort of detail; My pictures are about a search for a moment, a perfect moment. This is inherently reflected throughout his work, particularly in his latest series, Cathedral of the Pines. The photographs in this series tend to take place in small American towns, focusing on a surreal scenes. They emit a psychological, eerie aura and often have cinematic reference to films such as Vertigo by Alfred Hitchcock. The use of technology visually enhances Crewdson’s work, depicting surrealist views of provincial American lifestyle. Below captures my visit to Gregory Crewdson's latest exhibition at the Photographers Gallery, also featuring a video on this series.
R E S P O N S E
To respond to this gallery visit, I primarily wanted to look at bleak, isolated landscapes, as this is apparent in many of Crewdson's pieces, exhibited above. Furthermore, I was intruiged by the way he explored the theme of mystery, through lighting, composition and narrative. This is something I will look to explore later on in my work. However, to begin my respond, when researching, I found artist Justin Broadway on flickr, whose work had a similar effect to Crewdson's through its focus on isolated landscapes.
J U S T I N B R O A D W A Y
Justin Broadway has little information online about him. i found his work on flickr, which I was immediately drawn to through its eerie aesthetic. I really liked the fact his work was taken with minimal light, which I believe adds to this mysterious aura.
R E S P O N S E O N E
For my first response, I went to the Essex countryside and captured images when no one was about to imitate Broadway's style. I also attempted to go when the light wasn't prominent, however if i was too improve I think i would go at a different time or when there was more mysterious weather conditions, such as fog.Below is my contact sheet and selected images.
S E L E C T E D I M A G E S
R E S P O N S E T W O
For my second response, I decided to capture my images on a misty day, this meant that I was able to expand upon my first response and the aspects I didn't particularly like. Additionally, I decided to add people to the image creating an eerie aura, similar to Crewdson's aesthetic. Below is my contact sheet and selected photographs.
S E L E C T E D I M A G E S
D E V E L O P M E N T T E N
Inspired by this exhibition visit, I decided to combine this concept with my night photography focus. Below is many responses to this.
R E S P O N S E O N E
For my first response I decided to photography my images in a park in my local area. I primarily chose this location because of Crewdson's focus on foresty environments. Below is my outcome: contact sheet and selected images.
S E L E C T E D I M A G E S
R E S P O N S E T W O
For my second response, I wanted to take the results of the first response but further incorporate Crewdson's influence in my images. To successfully do this I went round Ally Pally again but with a women and her dog to create added mystery. I further intensified this mystery using photoshop, with the burn tool, levels, saturation, photo filters and exposure. I have demonstrated the effect editing my images on photoshop to enhance the mysterious aura has by doing before and after images below, after my contact sheet.
S E L E C T E D I M A G E S
B E F O R E
A F T E R
R E S P O N S E T H R E E
After learning from my third response, I decided to expand once again. To do this I wanted to make the figure more silhouetted, to further dramatise the image and I thought it would create more mystery if the person was less visible. Below is my contact sheet and selected images.
S E L E C T E D O U T C O M E
E V A L U A T I O N
Below illustrates a mind-map of my developments up to this point. In this mind-map, I have separated the developments into two sections; experimenting with subjects and experimenting with landscapes. Developments 1-8 demonstrate the 'experimenting with subjects' section, where I have explored and tested varied forms of capturing natural objects in differing ways to combat the lack of light. Doing this range of experiments has taught me many things, for instance, the many platforms you can use to capture or replicate a natural night time scenario e.g. using photograms. Furthermore, this will help to contribute to the other more complex developments that I will be doing later on in this project, for example, my final piece. In addition, developments 9-10 and all the responses within them represent the 'experimenting with landscapes' segment of the mind-map below. Looking at artists and sourcing inspiration from them, incorporating their composition, style and process within my pieces has allowed me to learn sufficient information about how to work in dark, difficult conditions. Furthermore, artists such as Gregory Crewdson have taught me about the emotional effect the photograph has upon the spectator, thus enabling me to feature a theme or message to my images. This is a vital aspect and therefore, I will take these components that I have learnt from experimenting and assimilate them into my later pieces.
D E V E L O P M E N T E L E V E N
For my eleventh development, I decided to begin to combine the two themes apparent in my previous line of work, as demonstrated above. In doing so, this would enable me to broaden my response, combining techniques that I have learnt from looking at the environment from close proximity and from a distance. Below illustrates this.
C O M B I N I N G C O M P O S I T I O N A N D T E C H N I Q U E
I decided to combine the two concepts i look at with light and shadow in natural environments: Gregory Crewdson and Grant Simon Rogers. To do this I experimented with using a flash capturing natural environments, but also involving a mysterious figure present in the background, asking the viewers the intentions of this person. Below is my outcome.
J O I N E R S
After having a successful outcome of my flash images of the environment, I decided to experiment with this concept further. To begin, I looked at David Hockney's Joiner process. Joiner photography involves capturing an extensive amount of photographs of a certain parts of a subject or environment, and then later joining them together to result in a whole image, with a unique perspective. Below is my research on David Hockney and my response.
D A V I D H O C K N E Y
David Hockney is considered one of the most influential British artists of the 20th Century. He was particularly drawn to the light and heat of California, in which he first visited Los Angles in 1963. From then onwards, the swimming pool became his favourite subject to photograph, which is where his expressionist style began to progress. However, in the 1970's his style of photography slightly adapted and he was considered as more of a realist. Below are some examples of his work.
The image on the right is one of Hockney's joiners he took by taking lots of Polaroid pictures on one particular subject; in this case, a boy swimming in a pool. His discovery of joiners occurred accidentally but resulted in an interesting unique picture. By creating this effect manually show his sheer talent for creating a cubist representation. I particularly like his attention to detail, this is shown when he focuses on capturing on the design on the bottom on the pool. This is something I will attempt to focus on when capturing my images.
R E S P O N S E O N E
For my first response, I decided to capture this joiner relatively close up, using all the images selected below. I manually put the joint together on photoshop adjusting the layers to fit together. I believe this resulted in an unsuccessful outcome. Despite the fact the subject appeared bright and highlighted by the flash, his body became distorted. Therefore, in my second attempt, I will attempt a different method in aim of a more successful outcome.
Images used:
Outcome:
R E S P O N S E T W O
For my second response, I didn't want there to be the same distortion therefore I captured the scene from a further distance away. This technique appeared to result in a more successful result. In addition, I edited the joiner on photoshop using the images below and the montage tool, rather than doing it manually by myself. I believe this resulted in a more successful outcome. However, I don't think I will continue with this technique as I believe the outcome isn't as effective as I thought it was going to be.
Images used:
Outcome:
D E V E L O P M E N T T W E L V E
For my twelfth development, I wanted to expand my inspiration to other artistic platforms. Thus, I ended up looking to filmmakers to source inspiration for my own work. In doing so, this has allowed my responses to become more varied and complex. This is apparent below.
P O W E L L & P R E S S B U R G E R
Micheal Powell(1905-1990) and Emeric Pressburger(1902-1988) were a British film-making partnership, who together founded their production company known as The Archers. During their collaboration they made 24 films between 1939 & 1972. The images presented below are from Black Narcissus(1947), which centres on the opening of a convent of nuns in the Himalayan mountains and its absolute isolation inevitably leading to their downfall, where one nun becomes possessed by her lust for a local Englishman. The film’s main crux is how the exoticism of its location pushes the characters into their inner selves, but also how such landscapes can tell so much about the British psyche. It is through the Himalayan topography and its emphasised vibrancy reveals the hidden fantasies of many of the characters. This is something i will attempt to respond with in my work, further utilising the colours and landscape to enhance the narrative. Below demonstrates two examples of the surreal work of Powell and Pressburger.
R E S P O N S E O N E
For my first response, I wanted to maintain the concept of featuring a man/women in a natural environment but also combine it with my inspiration; Powell and Pressburger. Particularly inspired by the art work in their film "The Black Narcissus(1947)", I decided to combine a dramatic skyline with one of nature. To do this I captured a man within a forest and a sunset, as demonstrated below.
P R O C E S S
Below I have demonstrated the images I used to create my response and annotated illustrations of the photoshop process.
I M A G E S U S E D :
P H O T O S H O P P R O C E S S :
S E L E C T E D O U T C O M E
D E V E L O P M E N T T H I R T E E N
For the thirteenth development, I again looked to filmmakers for inspirations for my own developments. This lead me to Arika Kurosawa, who's experimental colour films inspired me. Below is explanation of Arika Kurosawa's work and how I drew influence from it, and below my response.
A R I K A K U R O S A W A
Akira Kurosawa was a Japanese film director and screenwriter, born March 1910 and died in 1998. Regarded as one of the most important and influential filmmakers in the history of cinema, he made a groundbreaking contribution to the Jidaigeki period through his action films such as Seven Samurai(1954) His directing career was launched with the Sanshiro Sugata, which originally was a novel published about the Japanese attack on Pearl Harbour. This demonstrates his focus on prominent historical events, which have attracted a large demographic. This is further exhibited in Record of a Living Being, which portrays an elderly women terrified by the prospect of a nuclear attack, correlating to the nuclear bomb tests that intensified in the Pacific Ocean after the intervention of the hydrogen bomb. These tests had caused radioactive rainstorms in Japan and one incident in particular (March 1954) had exposed Japanese fishing boats to nuclear fallout resulting in disastrous effects. Thought most of his famous work was black and white, Kurosawa used colour like no other filmmaker ever before. In 1970, he released his first colour film, Dodes'ka-den, introducing the world to his kaleidoscopic imagination. His use of colour has symbolic meaning, in which the use of warm colours generally evoke dangerous and inappropriate passion of the male characters. In Dodes'ka-den, the vivid colours signify the toxic conditions of life in the slum. Below demonstrates screenshots from some of his most iconic colour films, demonstrating Kurosawa's effort in bringing paintings to life in cinematic form, which I will use for inspiration.
F I R S T R E S P O N S E
For my first response to Kurosawa, I captured a relatively isolated landscape, covered by snow. I chose to capture this in snowy conditions, to create an almost fog-filtered effect, similar to that of Kurosawa's films. Below is my selected images.
S E L E C T E D I M A G E S
E X P E R I M E N T A T I O N
After capturing these images on film, I decided to expand upon them further. Looking back at Kurosawa's work, I was primarily drawn to it via its effective, clever use of colour. Therefore, I wanted to further enhance the use of colour within these pieces. This lead to me to experiment on Photoshop. Scanning the images in, I then put them into Photoshop. Once in photoshop, I overplayed two of the images together. This created a disoriented effect. I then further emphasised this via adjustments to the colour. To do this I manipulated the colour balance and hue/saturation, which resulted in the images below.
S E C O N D R E S P O N S E
For my second response, I decided to maintain the snowy landscapes as I felt it emitted a suitable atmosphere. However, I decided to capture it again via digital photography. This resulted in much clear, crisp images which I then edited on photoshop to enhance their eerie aura. Below is my contact sheet and selected images.
S E L E C T E D I M A G E S
E X P E R I M E N T A T I O N
I then decided to experiment further with my digital response, creating abstract versions of my selected outcomes. To create these pieces, I used Photoshop. First, I uploaded the image into photoshop, then I adjusted the colours using colour balance and hue/saturation. After choosing my desired colour, I then used the paintbrush and painted random lines of a contrasting colour throughout the image. Afterwards, I then used the liquify tool to create these dramatic outcomes. In doing so, I aim to replicate an extreme form of Kurosawa's image presented below.
Kurosawa's image:
My interpretations:
E X P A N S I O N
To expand, I adjusted the technique. I went back to a more simplicity edit, where I adjusted the colours but in a less extreme form. I then decided to manipulate other aspects of the scene for instance, changing the size and amount of lampposts there are and enhancing the figure's size too. This adjustment of scale I felt was more successful, however, I want to attempt to do this further but with a focus on the wildlife. Below is my inspiration and my attempt.
Kurosawa's image:
My response:
D E V E L O P M E N T F O U R T E E N
After experimenting with different techniques in influence of Akira Kurosawa, I wanted to expand upon the manipulation of image which I was heavily exploring in the previous development. Therefore, in this development I decided to look at Ruud Van Empel and his staged 'jungle' scenes. Below is my response.
R U U D V A N E M P E L
Born 1958, Ruud Van Empel is a Dutch photographer and visual artist. During the 1970s, he studied at the Academie voor Beeldende Kunst St. Joost in Breda. Prior to that, he began producing videotapes independently, beginning to experiment with the artistic medium. In 1999, The Groninger Museum presented his first solo exhibition. Below are a series of images from his "Theatre (2013)" series. As with all Empel's pieces, he creates these dramatic, innovative scenes using a large library of digital body parts, fabrics, and foliage. Once all the required components of the image are collected, Empel creates these "dream-like photographic utopias, where nothing is exactly as it seems." (Photo Brussels Festival) This is something I want to create in my own work, sourcing components of the image from a vast collection of digital photography and transforming them into a staged, constructed piece.
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R E S P O N S E O N E
For my first response, I captured a range of images around my local area. I then put them into photoshop and attempted to imitate Empel's iconic, surreal scenes. I felt the outcome of the final image was disappointing, primarily due to the fact there wasn't much variety within the nature used, the scene didn't appear as though at night and smaller wildlife, such as the bushes, appeared displaced, as though not part of the image. This is something i will aim to work on.
Images used:
O U T C O M E :
R E S P O N S E T W O
For my second response, I wanted to improve all the negative aspects apparent in my previous work. Therefore, I recaptured trees around my local area, focusing on getting different types and sizes to create variety within the final outcome. In addition, I took particular attention to changing the day time scene into a night time one. The steps I followed are illustrated below, as is the final result.
Trees used:
Background image:
Process:
Outcome:
F I N A L P I E C E
For my final piece, I decided to recreate an elaborate expansion of my response to Rudd Van Empel's work. To help create this, I decided to research the wider context trees play in our world. However, I first visited an exhibition at the V&A, called Into the Woods.
I N T O T H E W O O D S : T R E E S I N P H O T O G R A P H Y
This exhibition focuses on trees and how they have been a source of inspiration to many artists over the years. It is often considered that they evoke a primal sense of wonder, a primary reason for photographers capturing them as a compelling source of imagery. Historically, photographs of trees served as botanical records but also for creative expression. Thus this exhibition explores the diverse representation of trees in photography, for instance, the work presented below by artists such as the middle image, by Ansel Adams. This inspiration provoked my interest primarily through how deep routed how connection between trees and us, as humans are. This then deeply troubled me when thinking about how destructive we are with this ecosystem. Furthermore, this exhibition taught me about lighting, and the different effects it has on the final result of an image. For instance, the auras created comparing the centre image below to the image on the right, are primarily due to the lighting. This is something I will incorporate into my final piece.
C O N T E X T
To complete my final piece, I wanted to look at the wider context of trees, what role they play in our world and how they affect us, as humans. Whilst researching the internet and through books, I found that trees play a crucial role to our very existence, not just through supplying paper, fuel, furniture ect, but they serve a vital role in the carbon cycle, to the point that without trees, there would be no humans. As part of the carbon cycle, they act as a carbon sink, absorbing up carbon dioxide that would otherwise be present in the atmosphere and contributing to ongoing changes in climate patterns. This is particularly concerning as our ever increasing population means that goods and services that trees provide are becoming more demanded, resulting in an increased rate of deforestation. The definition of deforestation is the clearing of Earth's forests on a massive scale, often resulting in damage to the quality of the land. It can be conducted in many ways, including fires, clear cutting for agriculture, ranching and development, unsustainable logging for timber, and degradation due to climate change. In these differing forms, deforestation is happening at an annual rate of 18.7 million acres. Therefore, deforestation undermines this important carbon sink function, adding to greenhouse gas emissions. Furthermore, other impacts such as loss of habitat have dramatically affected species, as 80 percent of animals live in this environment. Another factor which of particular concern, is the impact deforestation has on tribal communities, as a source they depend on to sustain their way of life. Below I have attached a few images that demonstrate those affected by deforestation.
R E S E A R C H
After looking at trees in a wider context, I decided to further investigate this using statistics, as illustrated below. I found a range of data sets demonstrating the serious impacts of deforestation. For instance, the data poster on the far left states how deforestation is only likely to increase especially as population is growing rapidly and thus our global demand for agricultural products will increase.
R E S P O N S E O N E
To begin my response, I had to capture all the images necessary for the scene I want to create. For my scene, I want to involve the wider context of trees and the role they play in our world, those affected by this and demonstrate it in a style similar to that of Rudd Van Empel's. As this scene, has many aspects vital to capture it, I have outlined each section below.
S T E P O N E
To begin my first response, I captured a natural scene at Hampsted Health. Below is my contact sheet of the scenes I captured and my chosen one. After choosing the scene I wanted to base my image on, I then cropped it to 32.73cm wide by 5.54cm high, as shown beneath.
Image size:
Contact sheet:
Selected image:
Cropped selected image:
S T E P T W O
For the next step, I needed to capture the wildlife present within the images. Therefore, I captured the wildlife, essential to my scene, in Hampsted Health. I thought this was a suitable location as it is such a large site, which had differing shapes of trees and wildlife which I could include in my image. After selecting my chosen trees, I used the quick selection tool to highlight the tree, then copy and pasted it into the background image, as displayed above. Once pasted into the scene, I then used the eraser tool to neaten any edges that were still prominent. Below is my contact sheet of all the images I took and then all the images I will be using in my scene.
Contact sheet:
Selected images:
Photoshop example:
S T E P T H R E E
The third step involved adding the larger aspects other than trees. To capture the water source images, I went to two locations, the first was my local park which has a flooded river, the second was Hampsted health, capturing images of all the different lakes. For the rock faces I used images from my holiday to France. Both are demonstrated below with contact sheets and the chosen images from them.
S T E P F O U R
For the forth step, I captured images of the more minute details which are evident in a typical jungle scene. To successfully do this, I captured any leaves or small wildlife pieces that I could easily add to the photograph. To add these to the scene, I used the same process as adding the trees to the scene. Below is my contact sheet of all the images add and the selected images I used in my scene.
Contact sheet:
Chosen images:
S T E P F I V E
For the last thing to add to the first image, I wanted to include animals as this is something scene in both the natural environment and throughout Ruud Van Empel's responses. Therefore, I felt the animals were essential to my photograph. I thought it would be suitable to use images I captured when on a safari in South Africa. Below are the images below, that I have used in my final scene.
Contact sheet:
Chosen images:
S T E P S I X
For the final step, I transformed the daylight images/scene into a night one, ass illustrated below. First thing was making the background seem as though it was night, to do this I adjusted the levels, brightness/contrast and colour balance to create a deep blue colouring, imitating that of a night sky. The next thing to do was to change the colours of the trees. The ones at the back of the scene, I made completely black to create a silhouette effect. I chose to do this as this is something Rudd Van Empel tends to do in his pieces. After doing this, I then adjusted the rest of the trees according to their positioning; if they were near the back they are darker if they are near the foreground they are lighter. This is demonstrated below. Next, I wanted the overall colouring to be more green. Therefore, when editing the image I adjusted the red and green levels individually to create a more green result, which I have given examples of below too. Furthermore, I also added a green photo filter over the whole image to enhance the green element. Below I have shown my daytime version and below that, the night time result.
Daytime version:
Nighttime outcome:
R E S P O N S E T W O
For my second response, I wanted to do a scene that flowed from the last but then dramatically stopped and featured a deforestated landscape. The steps I followed were the same as the last. Below illustrates my process.
Original image:
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Image size:
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Images added:
The first images I wanted to add were the beginnings of the deforested landscape. Therefore, I wanted to include an arid, dusty floor which I thought the image below was most suitable as, an image I captured in . In addition I also wanted to include a large rock face to add variety to my scene, creating a more unique, effective result. This image is apparent below on the right, captured in Spain during one my holidays.
Images of trees used:
For the continued jungle scenario, I wanted to use trees that were in the last scene to create a sense of continuity. Therefore, I selected trees used in the image before and added them to this new scene. I also began to add trees that had apparent destruction to them, to include in the desforested section or the transitional part.
Result:
The ordering of the scene was primarily about transition. I wanted to transition from the healthy, busy jungle environment to a barren, destructive one. Therefore, I decided to position it in this form to replicate my idea. As presented below, I have started to form the structure of the scene I am going to create.
R E S E A R C H
Once I had successfully decided the positioning of my landscape scene, I then needed to see how the deforested landscape interacts with the forest. Therefore, I did some research and discovered, as demonstrated below, that there was a dramatic mark between the two, enhancing the destructive power humans have caused. Doing this research has enabled me to continue with my project, making it as accurate as reality as possible. Below are a series of images of deforested landscapes.
Outcome:
After doing this research, I was then able to confidently form the boundaries between the two contrasting environments. Below I have started to form this, on the far right in the background, I have positioned an array of trees, to replicate a thick, healthy forested landscape, and near the foreground of the image, near the centre, the other boundary is present, where i have begun to place trees along it. In addition I have also started to begin the day-to-night transition on some of the layers, nearing to its final form.
Improvements:
Looking at the image above, I noticed various improvements I felt could be conducted to enhance the aesthetic. Primarily, I felt the rock form near the cliffs didn't fit with the aesthetic and thus I decided to remove it. Furthermore, i wanted to make the jungle scene to the far left of the image appear more chaotic and clustered, therefore, I added more trees and wildlife to the floor to replicate this aura.
Final improvements:
For my final improvements, I adjusted a range of aspects. The first thing I did was change the tree in the far left corner as upon looking at the previous scene, there was one like it. This created a reflection effect, something I didn't want. Thus changing the tree for a different one resulted in a more successful result. The next thing I did was add more cut down trees. I also added more tree stumps to signify other trees that have been cut down. Below is my outcome.
Outcome:
F I N A L O U T C O M E
To finalise my piece, I then combined the two responses, the one of the jungle and the one of the deforestation, as demonstrated below.