Commission Unit- Environment Summative Assessment

8/13/2019 Commission Unit- Environment Summative Assessment

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Commission Unit-Environment Summative

Assessment: (Part 1)Catherine Stuart


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My Concept

My initial concept was to photograph man from a height to determine his place within environment. I wanted to demonstrate how irrelevant man is within his environment in the sense scale. After location scouting and taking some test shots from these locations I discovered thawas difficult for me to achieve the correct height that would translate my concept as well wanted it to. However, after analysing the contact sheets I had another idea that could also convthe same message. I thought of photographing flat, vast and remote areas at a lower vantage poinI wanted the viewer to feel as though they are looking on to the landscape feeling alone isolated.


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Richard MisrachI began to look at Richard Misrach because I was very intrigued as to how he photographs man within his environmfocused particularly on his photographic series On the Beaches . I was interested in this series specifically becathe beach is one of the most desolate and isolated environments that was available to me.

I found that On the Beaches really helped me focus on how I would poand environment. To begin with I was going to only focus on photographhowever I wanted to create a series that was visually interesting so I deciddifferent locations. What I noticed about Misrachs On the Beach his photographs are staged, he just watched and observed the location and

the right moment. This is what I tried to apply to my professional practice wmy final images. Even though my concept wont include a subjectRichard Misrachs techniques of portraying environments really has aidethink about how I photograph my landscapes. Throughout shooting my final I kept referring to my research and kept all the visual references on my phconstantly inspired by other artists.


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Simon RobertsI chose to study Simon Roberts because again he portrays the environ

way to Misrach. Roberts works from standing on the top of his mdoesnt take his images from such a height as Misrach. I almost prbecause it is more approachable for my concept. As I wasntheight I chose Roberts purely because I love the way he photographlandscapes and this is what I wanted to base my project upon.

After watching numerous videos of Roberts talking about his practice interviews I learnt one important factor. I learnt that when photographlandscapes you need to take your time. I applied this to my pra

shooting my final shots. I took my time really focusing on the lanwould be of the best quality.

I think Roberts is particularly significant to my project because hemake man the main focus of his images, whereas Misrach does.


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Visual References

I dont feel that Roberts has man as the main focus within the landscapes, I feel that he wants to show how vast thand that is why he photographs the way he does. I chose these particular visual references because he has portrlandscape in a way I wish to. Much like I did with Misrach, I always referred to Roberts whilst I was shooting toinspiration and possible new techniques and ideas.

Reference- We English - Published by Chris Boot Ltd (2009)


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Simon NorfolkI chose to study Simon Norfolk because I am very interested in the way he portrays the war fields through desolatelandscapes. He has photographed some of the worlds most horrific war zones and refugee crisis. I am partiin the photo-series about Normandy Beaches. I can relate my concept with Norfolk much more because heimages from a height and photographs his images in an almost detached way.

What I can directly relate to my project is the way I feel when I look at hwant the viewer to feel instantly involved within the scene they are lookand this is exactly what I feel when I look at his work. When I shot my fikept thinking of Norfolks work and how I can almost mimic this butime create something that is my own.Through looking at Norfolks work I have learnt that to portray the sensand insignificance of man through landscapes you do not actually have man within the image. In a way I think that this technique does work muwith what I want to portray because it is a much more subtle way of dcomparison to Roberts and Misrach, I prefer Norfolks techniqueinstantly within the scene, I feel as if I am there and can feel the enaround me. As soon as I studied Norfolks work I was complerecreate something of a very similar nature.


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Visual References

I have chosen these particular visual references because I think they are so beautiful. I sense the feeling of being at one with Godat these- particularly significant when hes photographing a war battlefield. I also chose these because before photogwhether it is environments, portraits or even still lifes I have the final outcome in my head even before I have shot anythwant my final images to look like, and I wanted them to definitely mimic these beautiful images. These photographs are completechaos, considering this was once a war scene.


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Bart MichielsMichiels became interested in the effect wars have had on the land in Europe and how geography is now endowed withunwelcome history. He carefully chooses sites marked by great bloody battles but photographs them in such a beautiful wAt first glance his images are picturing peaceful idyllic landscapes, however these are some of the worst battlefieEurope. The marks on the landscapes still refer to history and the fallen.

These visual references do directly relate to my project with the use of very strong horizon lines cutting the image in two. As these images I instantly felt as though I was there, experiencing this landscape for myself. Unlike Norfolk, Michiels has photprevious war scene as an eerie, quite haunting scene. As I have done below, when you put his images together the horizon line that you can almost picture all three scenes as one whole photograph. I want to take this technique into my own practice.


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Ansel AdamsI have chosen to study Ansel Adams because I love the way he used black and white photography as a means of transforma landscape. What I love the most about his work is how he photographed landscapes that not many people had venturedupon before. There is something idyllic and beautiful about his work yet he manages to portray these amazing locations aalmost wilderness. Much like the other artists I have studied, I kept Adams images on my phone so when I was shooting onmy locations I could look at these references and gain inspiration. These three images have really given me inspiration toproduce work in the style of Adams.


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Evaluation of ResearchLooking at my chosen artists, at a first glance they are all completely different to each other. However, each and everyon

them directly relate to my project and concept as a whole. Even though Misrach and Roberts work from a height, I bethey still portray the landscape in a similar way as I aimed to.

Looking at Misrachs work I have learnt to look at environments in various ways, from different perspectives. I apptechnique to my finals by when taking my photographs having an insight of asking myself I wonder what tlook like from this angle or this vantage point? and studying him has really enabled me to improve my professional

Studying Roberts has enabled me to realise that to portray something through the landscape it doesntobvious, it can be done very subtly. I also applied this in my practice, I will talk about this in my final prints.

Norfolk and Michiels really gave me a first insight into using strong horizon lines. Both of these amazing artists rea

empowered me to progress with my concept and produce work I am actually really proud of.Ansel Adams really enabled me to look at landscapes differently. When I was shooting I was thinking how I could mimic his techniques and almost create a wilderness.

Overall, all the artists I have chosen have inspired me and are all relevant to my environmental project.


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Location Scouting- Folkestone

As you can see from the Folkestone contact sheet I have been experimenting with various vantage points and angles. Iparticularly like the image I have selected in red, here I was just experimenting with the use of the horizon line to see what

type of image I could get from that. I was influenced by Michiels to include some tyre track markings in the foreground.


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Location Scouting- Dungeness

I decided to begin by location scouting at Dungeness beach in Kent. I decided

to test this location because I knew there were wonderful opportunities to getthe straight, harsh horizon line. Here are just some digital images that I took just to get an idea of what the location would be like. I really like the textureswithin the shingle and the contrast between this and the sky. What I loveabout this location is how flat, desolate and isolated it is- especially in thewinter months. As it is visible, I took these photographs in colour. I am howeverplanning to photograph my finals using black and white film. I am doing thisbecause I really want the viewer to feel completely isolated and alone and Ifeel black and white would be able to achieve this more with black and white.


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Dungeness Contact Sheet


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Dungeness Test Shots

Here are just a few test shots from when Iwent to Dungeness after Locationscouting. I was experimenting withvarious angles and these two images arethe two I like the most. I used the image Ilike the most and turned it into black andwhite just to see what an outcome wouldlook like. I do like these test shots and Iwill be using Dungeness as one of my

locations. However, I am unsure whetherI will be using the sea as a point of focusbecause in my opinion it suggests anger(certainly in these images) and that is notwhat I wish to portray through my work. Iwill be using the shingle and the flats ofDungeness as these are perfect for what Iwish to produce.


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Location Scouting- Greatstone

I decided on Greatstone as one of my other loI know there are amazing sandy/shingle beachAdditionally, it is about a 15 minute drive to made it easier to travel and get the photograpGreatstone is fairly similar to Dungeness so Icarefully as to how I could make the images dthis in mind when I was walking along the beshingle. After I had analysed the situations ofbegan shooting.


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Dungeness and Greatstone film contact

Here is the contact sheet for the Dungeness andGreatstone shoot. After looking at thephotographs I like the composition of theimages I had selected. I tried to get the horizonline as straight as I could when I shot the imageso it would be easier for me when it cameround to finally printing. I am glad I chose blackand white for this assignment because I think it

emphasizes the tones beautifully and that iswhat I wanted to achieve.


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Location Scouting- Romney Marsh

As I have lived on the Romney

Marsh my whole life, I knewthat it would provide theperfect flat, desolatelandscape for my project. Onthe right is a test shot I quicklyshot before I shot my finals onfilm. I love the vastness of theRomney Marsh, when I go for

walks around the fields I feelthe sense of loneliness andfeel so small and almostinsignificant. I wanted toportray this through myimages.


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Final Selection

These are my three final images. I have chosen these three because I feel they promote exactly what I wanted. Ithe viewer to look at these images and feel as though you are there. I want the viewer to feel alone within thesedesolate places. When you look closely at my larger prints you can see there are subtle hints of man. In the firstimage just by the horizon line you can see electrical poles, I have included these for a reason. I wanted there to subtle hints within each image. Much like Michiels I have also included the tracks that the farmer had made to the crops. I have done this because I do want a sense of reality within the images, so man really finds his place.second selected image is Greatstone beach. I kept in mind that Greatstone and Dungeness are pretty similar in thway they look so I kept this in mind when I was shooting. I am very pleased with my three final selections and they do work very well as a series.


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Final Print 1


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Final Print 2


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Final Print 3


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Critical Appraisal

I have learnt so much about myself and my photographical practice whilst partaking in the Environmental unit. I have enjthis journey of my first unit at University, it has almost been a journey of self exploration. I have particularly enjoyed the

steady progression throughout the unit, from thinking of a concept, researching into that concept, discovering artists I nevknew existed, exploring their work and gaining so much inspiration. You then come around to planning and taking all youtest shots and then you get round to photographing your final images. This is what I have loved the most about this projecyou see it improving right in front of you. I think I have created quite a strong project and I am very pleased with all of mprogress. I chose to produce my final prints on the larger 12 x 16 inch paper because I feel this really emphasizes the vastof the landscapes I was photographing. I chose to use a 50mm lens as this would again emphasize the sheer enormity of thlandscapes. As my concept is man and his place within the environment, I want the viewer to feel instantly involved withthe scene they are looking upon and almost feel insignificant. For this reason, I chose to photograph my finals in black anwhite as I feel there is a sense of detachment with black and white photographs (man feeling detached from theenvironment) and I feel it portrays the message I want to much better than what it does in colour. I feel I have managed mystudies rather well. I have done this by lots of planning. From the beginning I had mind-maps outlining various ideas as towhat I want to do. I have managed my studies well by good time keeping, sticking to a structured plan and not leavingimportant elements right to the last minute. I would have liked to shoot much more film than 5 rolls. Only because this whave given me more experience with shooting analogue, which I love doing. Furthermore, I would also take the same shothe same location throughout the day with different weather conditions. I would do this because outside you have no contover the available light so I would try to control it this way. I found the most challenging aspect of the unit so far was copwith the pressure and stress of having numerous units going on at the same time. However, I do think that I have copedrather well with this aspect and I am very pleased with my outcomes.

Commission Unit- Environment Summative Assessment

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