120- BROCKBOTTOM
The landscape is something I have always been fascinated about purely because we are never able to truly capture it in a photograph no matter how good of an eye we have or how powerful our technology has become. The closest we have come is to create an alias, a copy or a replica.
The theories behind my idea are points in time such as “The Age of Enlightment”, “Romanticism”, “The New Landscape” and “The Sublime” which all correspond to the general landscape in regard to the 4 basic elements; Earth, Air, Water and Fire. I always try to find theory within my images as I believe artists do find inspiration from other artists but not in the sense of appropriation. It has always been good practice of mine to read up on things I’m fascinated by.
The mediums used were essential to the theories. I used archive digital images to portray The Sublime and new film photographs to create imagery in relation to Romanticism in particular. I wanted to illustrate that how no matter what label we choose to put on the environment, it will always remain in the same emotional state before and after the camera. My digital images try to represent the Dutch paintings in the seventeenth century, with no cameras and not near enough human impact on the environment as there is now. My film images try to portray old style alternative processes and techniques in an attempt to really focus on composition, aperture, shutter speed and lighting rather than seeing the subject and snapping the shot. I found that while working on this assignment, I learned a lot more about my own character and how I would want to shoot in the future. I have a new found passion for film photography and how much attention it requires.
The final outcome became something materialistic and tangible. Traditionally, I have found, that the landscape is to be thought of as something admirable, a place of worship but in the modern age it seems we take it for granted more than we admire it.
120-LYTHAM HALL, 2019
120-INGLETON FALLS, 2019
120-MALHAM
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Does my imagery alleviate or, in fact, create emotions?
With any sensitive issue, it’s important that I didn’t cause any unnecessary stress or harm with images that were too graphic or sinister for my target audience. Having said this, it was also of high importance to me that I was creating a series of work that did cause shock, guilt, sadness and potentially even remorse.
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Was there a reason I chose to include colour as well as black and white photographs?
Romanticism and The Sublime being two key themes running throughout the metaphorical veins of my practice, I have always considered opposing sides to create a well-informed concept of my mine. As much as I prefer shooting on black and white film, there is something beautiful about colour that I am testing to compare with other film types. I have always found black and white film photographs, no matter the medium, to be calming and tranquil which is something I naturally gravitate too for optimal production.
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Where do I go from here?
I don’t think there is a right answer to this question as my pathway is always changing and manifesting into something new that spirals into new projects formed by new theories and ideas. Experimenting with the medium is an ongoing interest of mine that I want to continue to incorporate into my practice potentially through small books, zines or concertina books as used before.