Transformative Studio Task #2

The transformative studio task was about trying to incorporate your main project into a sub studio project consisting of one black and white darkroom print. We needed to find a different approach to our projects that could be shot in the studio.

As my main project is about landscape work I needed to find away to bring the landscape into the studio. I had done something like this before last year so I found it quite easy to come up with ideas for what I wanted to do. Last year I created landscapes using clothes, beds, pillows ect (Images can be seen in earlier parts of my blog). I wanted to do something similar, but quite different at the same time. I started by looking at ways of creating model landscapes and using different materials to do so, such as rubbish, bottles, any scrap materials, and then I had the thought of using food, and so began the research into looking at different vegetables and I stumbled upon the foodscapes by Carl Warner which confirmed what I wanted to do as it fit in perfectly with the concept of my main project. Artificial vs natural landscape. Using natural materials (food) to create an artificial landscape. Using vegetables made my job that much easier because of their aesthetics, they already looked like things found in a landscape, broccoli for trees, bread for cliffs. Below you can see a low res scan of my print and peer marking sheet.  

Jaimie Golby

Draft Propsal

'Natural' Landscape?

When landscapes are thought of, an ideal comes to mind. A scene full of 'natural' elements. Trees, grass, rivers, mountains, etc. are the subject and contents within the frame that make up this landscape image. A scene with no human interference, a wild environment if you will.

In my photographs I want to be able to show that humankind and its creations are part of this natural landscape, that they are not something separate, not something different, but one.

The natural world we live in now has adapted and changed, its not what it once was. The day has long past when this ideal landscape was an accurate representation of the land. The natural landscape of the modern world contains these man-made structures. Cities are as much part of nature as forests and lakes.

Wildlife could appear within the frame and the image would still be classed as a 'natural landscape' photograph. But when something man-made is depicted with in the scene, such as a telegraph pole, a building, something as simple as a fence, the image seems to loose its 'wild' characteristic, it becomes artificial. But people are natural too, and its within their nature to build and create these structures within the land, so why are they not natural as well? Why do they carry this artificial label?

People are part of the world just as much as any other animal, yet when an animal such as a bird creates a nest, a structure, a home, it is deemed natural, but when humans do it, it's artificial, why?

My 'Natural' Landscape project will be a running series of images following a fine art style. They will have a black and white minimalist aesthetic and depict a progressive amount of human impact on the environment as the series goes on, starting off quite subtle and getting more aggressive and obvious towards the end.

Within my images I won't be trying to show the ugly, grotesque side of man's impact on the earth, instead my images will try and illustrate the beauty within these structures within the land.

Landscape Photography: The Technical Details

Composition

As with all types of photography, composition plays a critical role in landscapes. They key is to create a balance within the frame. This can be done with the use of the rule of thirds. Split the frame into thirds both horizontally and vertically to create a grid, with landscape photography, and other genres, the most powerful images can be made by setting your subject(s) so that it rests on one of the four cross pieces of this grid. Also using the lines as a guide as to where you put the horizon in the frame could make the images stronger, as this creates a more appealing balanced aesthetic. See the diagram below for a image of a frame split using the rule of thirds, as well as examples of photographs using the rule. And just like all rules in photography, it is there to be broken, experiment, some photographs may look good when ignoring this rule, it depends on the subject and how your trying to present it.

Horizon line:

• A low horizon works well when there is an interesting sky, it gives the landscape a feeling of emptiness, and can be used to distract the viewer from a boring foreground.
• A high horizon is quite the opposite. This can be used when there is a uninteresting sky, and you want the viewers attention on the foreground.

A medium (middle) horizon, straight across the middle of the frame can work also, but doesn't suit every subject. This horizon line works particularly well with water and having the horizon reflected above and below the line to create symmetry within the frame. 

Crockwell

Leading Lines

Leading lines are used to draw the viewers attention the certain parts of the image. Almost anything can be used as a leading line and they work particularly well when repeated as this emphasizes the effect. Leading lines work well because they are a natural line with in the image that your eye can follow, if the line then ends at your subject the eye will naturally settle on it, drawing the viewers attention to it. The most successful leading lines go from the base of the image to the centre, this allows the viewer to start at the bottom and naturally be drawn in to the middle, or where the subject is. As mentioned lines are more successful if there is more than one, the repetition strengthens the effect, and have a vanishing point with the lines (such as a road) is like having an arrow pointing at your subject. To emphasize the vanishing point a wide angle lens can be used, this stretches the foreground of the image, making it appear wider at the start, and so getting smaller towards the vanishing point. Telephoto lenses have the opposite effect, compressing the elements within the image. See below for an example. In this image you can see the railway tracks appearing from the base of the image and heading towards the city. Your eyes naturally follow the tracks to the middle of the frame, then rest at the vanishing point, on the horizon line, where the main subject is sat, the city skyline. There is also leading lines from the sides of the image both pointing towards the skyline.

Rémi Carreiro

Natural Frames

Natural frames can be used within photos to the same effect as framing an image. It emphasizes whats inside of it. Popular natural frames in landscape photography are tree branches, caves, anything that surrounds the frame so you can look through it at your subject. Frames are also a good way to hide certain things around the edges of the picture, they can remove distractions or unwanted elements in the image.

Unknown Photographer

Foreground Interest

Having something interesting in the foreground is critical in landscape photography. Having something boring there will spread the effect to the rest of the image and make it loose its appeal. Get closer to your subject. Placing something within the foreground gives a sense of scale and perspective, it also makes the the image seem more three dimensional as you can clearly see whats close to the camera, and in turn, whats far away. The foreground is also known as the 'hook', its what gets someone interested in the image in the first place.

If theres nothing of interest around to go in the image, get close to the ground and shoot from a low perspective, this will give some texture to the floor giving it more appeal.

Wide angle lens are the most useful for creating a interesting foreground. Not only do they allow you to fit more into the frame, but they make whatever is there appear larger as well.

This is where depth of field and exposure come in as well. Often maximum focus is wanted throughout the entire image, but when shooting something in the foreground it can be tricky to achieve, the next step will explain how to get maximum depth of field. As for exposure, the sky and foreground will rarely require the same exposure, so graduated ND filters are required to reduce the exposure of the sky so they are more equally balanced, more on this later as well.

Unknown Photographer

How to maximise depth of field

Maximum sharpness is often required in landscape work, photographers want the foreground and background in focus and this can prove to be tricky if you don't know what your doing. A rough way of doing it, although inaccurate, is to set the focus point to around 1/3^rd into the frame, this is a quick easy way, but inaccurate. Depth of field falls around 2/3^rds beyond the point of focus and 1/3^rd in front. Aperture of course plays a large role in depth of field so f/stop must also be considered, a small aperture around f/16 will likely be sufficent.

The longer method is to set the focus according to the hyperfocal point chart.

 

 Lighting

Natural lighting in the landscape can't be controlled, but it can be planned for. Before each shoot you should plan well ahead to see sunrise/sunset times are, where abouts the light will be coming from, weather conditions as all this effects the light available.

There are two main types available, hard and soft light. Hard light being direct light from the sun, creating harsh shadows and adding contrast. Soft light when the weather is cast over, as the sun has to go through clouds, making these the new light source which are a lot bigger, creating more even lighting with less contrast.

'Golden hour' is just before sunset and after sunrise, in the time when lighting is at its optimum conditions for landscape work. It gets its name from the golden (warm) glow that it gives off. The lighting is quite soft and as the sun is quite low it can light clouds in reds, oranges and yellows, as the sun is low it caused quite small shadows as well.

• When shooting with the sun in front of you image can appear quite flat as you can't see any shadows given off, there is also the danger of lens flare in the images.
• When shooting with the sun behind you your own shadow is likely to make its way into the shot if using wide angles.
• When shooting with the sun to one side of the frame textures are more pronounced, both the lit and the shaded side of things can be see, making the images more three dimensional.

Weather

There is no such thing as bad weather. Bright blue clear skies can be quite boring in photography. Clouds add a bit of mood and atmosphere to the images and make them much more interesting.

Like light, weather needs to be planned for so you take the right equipment and get the wether that you want for the shoot. Bad weather, such as storms, make great subjects for landscape photography, especially when clouds break and light comes through.

• 60-75% cloud coverage will result in likely not being able to see a sunrise/sunset.
• 75% + you can pretty much forget about shooting sunrise/sunset

Plan! Always know what the weather will be like when you want to shoot.

Equipment

Wide angle lens – Used to add more into the frame. More foreground, makes subjects in the foreground appear larger, and in turn things in the background smaller and further away.

Telephoto – Compresses everything in the image, makes things appear closer.

Tripod- Keeps the camera steady

Shutter Release- Stops camera shake when pressing the shutter

Filters

Polarising – Adds contrast. Darkens skies, makes colours more saturated.

ND Filters – Usually come in grade 0.3, 0.6, 0.9. Adds stops to the exposure 0.3 =1/stop 0.6=2/stops 0.9=3/stops. They are also stackable to add even more stops.

Graduated filters – Used to add stops to only part of the image. Most likely the sky. This is because the sky is nearly always brighter than the land by several stops. Adding Graduated filters reduced the exposure needed for the sky so that it is more balanced with the land reducing over exposure.

Everything here are just guides, photography is an art form and doesn't have to be exact, break the rules, experiment. 

Mark Voce

http://markvoce.com

There wasn't much information available on Mark Voce's website that tells you about him. Here is what I did find out however...

Voce is a English fine art photographer from Halifax. His work has been exhibited several times, both as solo and group exhibitions. Voce has won several awards for his landscapes, including Landscape Photographer of the year several times as well as Prix de la Photographie and APOY awards. As well as having his work exhibited Voce has had it featured in several publications including magazines and newspapers such as; Digital Photography Magazine, Metro Newspaper, Black and White Photography Magazine, amongst a lot of others. His work can now be found on Getty Images and can be purchased through this company. The information given on Voce's website is more of a CV than telling you about his personal life, or how he came about photography.

As well working on his own work Voce also offers workshops and one to one sessions to teach people about landscape photography, whether shooting film or digital, or even gives lessons on a variety of different alternative printing methods. (M.Voce. http://markvoce.com/about/ [Accessed: 22/12/13])

Voce's style of photography results in images of simple subjects looking amazing and quite transformed. The use of long exposure gives the images a unique aesthetic that cant be captured twice. Form and shape play a big part in Voce's work, he makes use of leading lines in the environment to bring the viewers attention to his intended subject, and makes great use of the vignette to make the subject really stand out within the frame. It is quite a typical minimalist fine-art style. The long exposure results in quite a sleek smooth dreamlike finish to all his images, achievable through the use of ND filters. The vignette works really well in the images that don't offer a interesting scene surround the subject, he makes use of the dark edges and corners to block out boring scenes to balance the images, making it as appealing as possible to the subject. Alot of the images feature really dark skies, even black in some, which suggest gradient filters have been used to change the exposure of the skies and not of the subject.

When shooting architecture it seems Voce prefers to shoot in the evenings after the sun has gone down or is going down. When in cities this brings a new life and interest to the images not attainable in the day. Night time brings darkness, and in this darkness the buildings really stand out with their own lights and surrounding street lights, the darkness masks uninteresting details and really brings the subject out within the frame. It also makes other details stand out, other details that would otherwise be missed by the viewer and makes the shapes and shades much bolder. It gives the images their own illumination. 

Voce's architecture work in Venice...http://markvoce.com/portfolios/venice/

Voce's latest work...http://markvoce.com/portfolios/latest-work/

Di Fruscia

http://www.difrusciaphotography.com

Di Fruscia is a fine art nature and landscape photographer from Canada. His inspiration to capture nature comes from the area where he lived as a child and the artistic manner in which he captures the scene from his parent's, who were both artists at some point in their lives. (His father a professional photographer, and his mother gifted with drawing and painting.)

Di Fruscia was introduced to photography through reading all the books he could find on the subject. He decided that this was the medium best suited to express his feelings, and that it was the perfect medium to record the beauty of nature.

Di Fruscia has won many rewards over the years, and has been published in several books, calenders, magazines and travel guides, amongst other publications. His work has been displayed by several clients including National Geographic and Kodak.

Di Fruscia is constantly pushing himself to improve within his chosen medium, always looking for new opportunities to record nature in all its beauty.

(Di Fruscia. http://www.difrusciaphotography.com/meet-the-artist.php [Accessed: 19/12/13])

Di Fruscia's work is quite different to any of the other photographers I have looked at thus far for this project. A lot of the other photographers seemed to favour black and white when shooting their landscapes while Di Fruscia makes use of quite vibrant colour throughout his work. This produces a completely different aesthetic and sets completely different moods within the images, making for a very different atmosphere. I included this work to show a different way of capturing the landscape, an alternative to the minimalist black and white approach I was considering within my own work.

Di Fruscia travels the globe searching for new locations for his work. From Norway to America, Di Fruscia has travelled all over in search of places to illustrate natures beauty and illustrate it within his work. He shoots in all sorts of conditions, but like most landscape photographers favours the golden hour to work in when the sun offers some of the best lighting conditions available.

Like the other landscape photographers I have looked at it appears Di Fruscia shoots on a medium format camera, getting the sharpness and focus lengths unavailable to other cameras. And allowing larger prints previously unattainable. The more detail the better it seems with landscape photography, making use of small apertures and what ever lighting and weather condition is offered.  

Di Fruscia

Di Fruscia

Di Fruscia

Di Fruscia

Di Fruscia

Rob Cherry

http://www.robcherryphotography.com

Rob Cherry is a fine art landscape photographer based in Dorset, which serves as the subject for the majority of his work. A lot of his work is done in black and white, but he also shoots colour, Cherry favours to use seascapes for his work, and so makes use of long exposure within his images.

Cherry has won a few awards for his work including images commended in the Take a view – Landscape photographer of the year 2010 competition as well as 4 awards at the International Photography Awards.

Cherry says on his website that his inspiration came from great photographers such as Ansel Adams, Michael Levin and Michael Kenna.

Cherry explains that his love for landscapes has developed from the area he lives in, and that once he finds a suitable location for his work, he revisits the place over and over to try and get the best shot available, which depends on cloud and weather conditions.

(R. Cherry. http://www.robcherryphotography.com/about.html [Accessed: 17/12/13])

I noticed Cherry's work because of his style of black and white long exposure seascapes, a style that I myself have a passion for and love to photograph. I find his work to be very inspirational and looking through his work has given ideas for usable locations for my own work within this project.

Shape and composition are strong elements within Cherry's work and these forms protrude when the images are displayed as black and white.

I love long exposure seascape because of the sense of mystery, time and beauty the effect has on scene. I love the misty, even look the water has when recorded at such long speeds, the dream like aesthetic, letting the viewer escape reality within the frame. This style highlights the unnoticed, it slows down time to that single frame, and portrays everything that has happened from when the shutter was first pressed until its release in a unique way no other medium can replicate. 

The long process demands the attention of the viewer and captures them in a way no other style can, giving a timeless appeal about the image. 

Link to Rob Cherry's gallery. http://www.robcherryphotography.com/portfolio150308p2.html

Carl Warner

http://www.carlwarner.com/

Carl Warner is a English photographer who initially started with a career in illustration in mind. Warner studied illustration at Maidstone College of Art but soon discovered that photography was a better medium suited for the kind of work he wished to produce. So after a year of foundation at the college he moved on to London College of Printing to undertake a course in photography, film and television.

After graduating Warner became an assistant for the photographer David Lowe. The a year later he set up his own studio nearby to Lowe's and began work for ad agencies, design groups and PR houses. His main set up was advertising photography, but later branched out to people and landscapes.

In the mid 90s Warner was loosing inspiration and motivation, it was around this time that he discovered his own genre of photography 'foodscapes'. Foodscapes were basically just landscapes made out of a variety of different foods, but put together so well, this became his trademark style and has been practising it ever since.

On his website it explains how he creates his 'foodscapes'. It explains that the images are shot in layers, foreground, background, sky etc, and then the images are put together in post production to create the one. This is because its very time consuming to set up the scenes and the food often wilts under the heat of the lights. Meaning if you made the complete scene to be made at once, where you started won't be looking as fresh as when you started. Making it in layers makes the large scenes doable, and gives you more time to create so you get the scene just right as well as the lighting. This would also bring cost and work force needed down as there is less to do at once, and most likely less waste as well. (C. Warner. http://www.carlwarner.com/about-carl/ [Accessed: 16/12/13])

Warner has this to say about his work;

“ Although I’m very hands on with my work, I do use model makers and food stylists to help me create the sets. I tend to start with a drawing which I sketch out in order to get the composition worked out, this acts as a blue print for the team to work to.”

“I tend to draw a very conventional landscape using classic compositional techniques as I need to fool the viewer into thinking it is a real scene at first glance, it is the realisation that the scene is in fact made of food that brings a smile that brings a smile to the viewer, and for me that’s the best part”. (C. Warner. http://www.carlwarner.com/about-carl/ [Accessed: 16/12/13]) 

Carl Warner

Carl Warner

Carl Warner

Carl Warner

Carl Warner

I find Carl Warner's work to be quite inspirational and feel it links well with my project as a whole, and directly with my studio project as its what I wanted to try for my own work. I think the colours of the food within the images really make the food stands out because of its vibrancy, my project will be shot in black and white and so will loose the effect of all the different colours in the image, making it harder for the viewer to see what the scene is made out of. Instead I will be focusing on the the shape and textures of the foods within the scene I choose to use. I will be taking the tip from Warner of sketching out my scenes before I make them, as this will make it much easier and faster if i know what I'm doing and making before I start, this is so I can purchase the correct ingredients before hand, and will be able to get straight on it so the food should remain fresh throughout the shoot. As the main aesthetic of my main project follows a minimalist fine art feel, I will be continuing this look for my studio task, I will do this by making quite a simple scene and having it on a white backdrop, the image won't be as complex as the images by Warner, instead they will be just a part of a scene. 

Michael Jackson

http://www.mgjackson.co.uk 

Michael Jackson is a British photographer based in Wales. Jackson studied art at West Dean College and then went on to apprentice under landscape painter Christopher W. Baker.

A lot of Jackson's work is based on a single beach in Wales, Poppit Sands, where he has revisited numerous times since moving to Wales. Jackson has this to say about his work at Poppit Sands.

'This seems to be something that I am compelled to do as I have not yet tired of it. My goal is to keep on looking harder and hope that through studying a single subject I can find something new. The beach has an infinite complexity – it is constantly changing. Why would I ever tire of trying to understand and record the infinite?' (M.Jackson. http://www.mgjackson.co.uk/section399533.html [Accessed: 28/11/13])

Jackson's work has been exhibited numerous times, including at places like Copenhagen, Hong Kong, Berlin, New York and many others. As well as being exhibited his work has been featured in several magazines such as Lenswork, silvershotz, amongst others and has also been featured on many blogs including BBC News.

A child's landscape

A child's landscape is one of Jackson's studio based projects. Jackson has this to say about this particular project: 

'I create these landscapes in my studio using sketched notes of the Pembrokeshire coast. I imagine these views through a telescope. I imagine pirates and explorers. I imagine swooping gulls and terrible storms, shipwrecks and stories of adventures and heroism. Overall I remember my childhood.
The landscape in a child's mind is not filled with exact facts. It is filled with excitement, with adventure and is unreal.' (M.Jackson.http://www.mgjackson.co.uk/gallery_572612.html [Accessed: 28/11/13])

The images from this series are quite abstract, they are still life shots taken in a studio environment. The images appear to be of cliffs along a coastline, when in fact they are images of rocks submerged underwater in a fish tank. The aesthetic of the images make them look they were created using some historical photographic technique long past, but really they were made using quite a modern method utilising medium format cameras and bread crumbs in the water to get that scratchy, used, dated look within the sky. 

I included this project within my research because it fit in so well with my idea to create landscapes within the studio, and shows how other photographers have gone about doing the same thing. 

Michael Jackson

Michael Jackson

Michael Jackson

Michael Jackson

Michael Jackson

Bruges, Belgium

A couple of nights ago I went to Bruges to start shooting for this project. I went for some urban cityscapes, and to do some location scouting for future possible shoots. I only went for two nights, traveling throughout the days, so there wasn't a great deal of time available.

The weather throughout the day wasn't great, it was completely overcast for the most part, and then rain in the evenings. I found the best time for shooting was late evening, when the rain had stopped and when the lights came on outside the buildings to light them up. The best locations were around the canal and around the squares where the streets opened up for a wider view, and so you got the reflections of the lights in the water.

I chose Bruges as a possible location for one of my shoots for this project because I thought a city location would work well to show how man-made things are part of the landscape. Using a urban location to show that this is the new 'natural', this is the norm of our day and age.

I also chose a city for the architecture. Buildings are man's home, and people are part of nature, so what they create must be part of that nature too? Buildings are just a modern day cave. Using the buildings as a subject within this project shows how these mad-made things have become part of the landscape, there not something separated from it, but something part of it.

In the two colour images below you can see 'nature' within an urban environment, the moss on the bridge, the trees, the water and the swan swimming along the canal. This just goes to show how 'nature' doesn't fight against the man-made structures but rather works around them or with them to prosper, in the images they are one together, both natural elements. 

Jaimie Golby

Jaimie Golby

Jaimie Golby

Transformative Studio Task

Initial thoughts and ideas

As this sub-project needs to relate to the larger negotiated project I needed to think of ways to bring a landscape into a studio environment. My first thoughts of how to achieve this was to recreate a 'model' landscape, but this would be too time consuming and likely wouldn't be worth the effort. I then thought of using items that looked like things you might find in an outside environment. I tried something like this before using walls and bedsheets, I used a blue wall as the sky and a brown/orange sheet and used the folds to create mounds, when looking at it from the right perspective, and using the correct lighting I was able to make the blue look like the sky and the sheets as a desert with the folds looking like sand dunes, using a wide aperture I was able to make use of a shallow depth of field so the details of the wall and cloth had a soft focus, making it hard to see they were just fabric, I then introduced some objects to the scene to make them a bit more interesting and to try and make them look like structures in the environment.

Below you can see my images from a previous project mentioned above. 

Jaimie Golby

Jaimie Golby

Jaimie Golby

Jaimie Golby

Another idea I had for bringing the landscape to the studio was to create a scene using things found, such as plants, branches, pencils, litter. This idea is much like the above but utilising more objects and being less abstract, I think the above idea requires the viewer to have to imagine the scene as a landscape and not see it for what it really was, just a pile of sheets and a wall. 

After a bit of research I found images of artists using food to recreate a landscape. Some of the scenes looked quite believable and were very effective. The idea of using the texture, colour and likeness of foods work really well to create an abstract dream-like landscape. http://www.moillusions.com/carl-warners-food-landscapes-or/

Carl Warner

Carl Warner

Carl Warner

Carl Warner

Although I like the two ideas above and think they will work well with my project I feel there both quite colour dependant, and this transformative studio project is a black and white film project. Although the above images don't look like they will work in black and white, perhaps a starker landscape will. Such as a single tree in a field (much like the landscapes by Michael Henson). 

Using black and white would increase the realism within the images, making it potentially harder to differentiate between a created scene and the 'real thing'. Black and white would mean the focus was more on the texture, shape, form, light and shadows within the image, and if all were executed correctly perhaps the image could pass for an actual landscape. 

Hilden & Diaz

Hilden & Diaz

When researching another idea came to me for this project. I saw this project called Forms in Nature by Hilden and Diaz and thought it would be quite fun to recreate something similar, using the shadows of 'nature' cast indoors. I did a project last year using silhouettes of cutouts which which could be used to create the shapes needed to cast the desired shadows. Simply by putting the cutout in front of a light source, closer to the light for bigger soft focused shadows, further away for smaller and sharper, the shadow the cutout will be cast across the room. I think this idea would work quite well with black and white as the shadows would standout quite a lot and there isn't much colour in a darkened room anyway. 

Light Sculpture by Hilden and Diaz http://piodiaz.wordpress.com/2012/11/15/forms-in-nature/

On their blog Hilden and Diaz explain that their light sculpture was inspired by Ernst Haeckel's drawings. It works by using a intensifying light source within the sculpture that casts off the shadows of the roots, brighter light creates stronger and larger shadows. The sculpture creates 360 degrees of shadows, which when used in the centre of a room, fills it entirely of these tree-like shadows giving the deception of a forest indoors.(T.Hilden and P.Diaz. http://piodiaz.wordpress.com/about/ 15 Nov 2012 [Accessed 16/11/13])

Aesthetic Approach

Susan Derges - Under the moon

At first glance the images from this series by Susan Derges look like quite simple photos, but under closer examination its noticeable that they are not. There appears to be a few possible processes used to get aesthetic seen in these images, photogram, camera-less image recording and collaging.

When looking closely at the images you can see water ripples and movement, suggesting the images taken are reflections on a pool or river looking up at the moon. The images could also be made using a camera-less method of laying light sensitive paper under some water and leaving it to expose, the branches and leaves would be silhouettes, just shadows of an over hanging branch. The ripples could be created by disturbing the water in some way, perhaps by dropping something in moving the container with the water it in, or by sending in vibrations.

I think this process makes the image more part of the landscape, the image becomes one with it, instead of having the camera recording an image from afar, it cuts out the middleman (the camera) and records whats there.

As the aesthetic is quite different to a 'usual' photograph, it makes the viewer stop and look at it, bringing questions as to how it was made, why it was made, it plays on the viewers curiosity and gets them intrigued. Recording the image in this way adds more elements to the image, it adds layers, making it more complex and more interesting, the texture from the ripples makes it more than just a photo.

Dan Mountford

Double exposure processes can be done either in camera, post-production in photoshop or in the darkroom. To do it in camera you simply expose the first frame then wind the film back and expose again on the same frame, ofcourse its more complex than it sounds to correctly expose so that the final image is well exposed. To do it in photoshop simply layer the images into the same document and set the layer blending options to get the aesthetic required. To get the effect in photoshop its much like the in camera method, but instead you expose one image from a negative on to some paper, then using the same paper and a different frame on the negative, you expose again to get the same effect.

The process of double exposure gives this abstract quality to the images achievable by no other means. It gives a dream-like quality to the images and the extra layers make them quite appealing and gets the viewer to stop and look at them to see both scenes within the image. The effect it can have ona portrait like this is one that shows several perspectives at once, one of the person in the image, and the other of the possible scene the person can see. Making it seem like the person is at this place in the image, when in actuality they could be very far away when the images were created and not related to the scene at all. 

Julian Calverley

http://www.juliancalverley.com

http://juliancalverley.wordpress.com

Julian Calverley is a Hertfordshire born landscape and advertising photographer. As well as being a keen photographer Calverley also showed an interest and skill in drawing and painting from an early age. Calverley attended an art college, but soon left as he realised photography was the most effective way he could express himself. Instead of studying photography at a college he instead worked for several studios where he acquired the skills necessary for what he wanted to do. In 1988 he opened his own studio, complete with a darkroom.

Calverley has a endless list of clients he has worked with and is still doing work for, recent clients include; Argos, Aston Martin, BT, Honda, DIVE Magazine, Marks & Spenser, and many many more.

As well as getting commissioned work, Calverley also spends his time doing his personal projects, a few of which included underwater shoots in the red sea and Cayman Islands. (J. Calverley. http://www.juliancalverley.com/biography/ [Accessed: 8/11/13])

Calverley's cinematic style really capture moments in the landscape and have led to great success throughout his career. His work has been featured in several publications such as International Photography Awards, Association of Photographers Awards Book, and many more. As well as the publications his work has also been exhibited in several gallery’s and due to increased popularity of his work, many of his personal landscape images have become available in editioned Large Format Archival Pigment Prints. (J. Calverley. http://www.juliancalverley.com/biography/ [Accessed: 8/11/13])

Calverley's images are often similar locations. He revisits the same places regularly as the land is constantly changing and is never the same from one day to the next. He shoots in the different weather conditions as the different weather changes the atmosphere of the area completely and provides very different images. Calverley shoots all over the world but seems to prefer locations closer to home, a lot of his work is shot in the UK, prominently in northern Britain, Scotland. 

'Preferring the qualities of autumn and winter light, Julian often works before dawn and after dusk.

In all weathers, he captures the atmosphere of the scenes before him, often returning to the same remote locations time and time again.

Landscapes can look so different, almost unrecognisable, from one moment to the next that Julian considers it vital to experience them in their varying weather conditions and sea states.

His tenacity in revisiting these locations enables the apparent orchestration of truly unique moments.

In those moments, when the grandeur of the landscape combines unpredictably with the elements, the stage is set and Julian feels huge excitement in connecting with his surroundings.

The finished pieces command a theatrical air; so wonderfully crafted, as if each facet to the image has been summoned into place at the click of a finger.

It is this feeling of being there, experiencing nature and the elements in all their breathtaking glory that Julian conveys so effectively in his work.'

Quote taken from ... (http://edition-prints.com/process/ [Accessed 8/11/13])

Julian Calverley

Julian Calverley

Julian Calverley

Julian Calverley