I lost the SD card from my second shoot and had to re shoot. This time it was more focused because I knew where I was and what I wanted to take photographs of there. I feel like on the one hand this helped with the quality of the better images but it also meant that I was slightly less adventurous and there was not as much variety.
Simon Roberts is a photographer from _ who mainly focuses on landscapes and spaces. His series We English focuses on English coasts and countrysides.
I decided to contact forest rangers and ask them if I could photograph them whilst they were working. They maintain the forest and take children on trails and arrange activities, which paired with portraits would potentially be interesting images. I also decided that it would be a good idea to photograph people who were in the forest and ask them for quotes on why they like to visit the forest. Here are some of the places of interest in the area and contacts that I found:
Here are the final photographs so far. I think that they’re effective but the series needs a bit more diversity and some of the shots could have benefited from using a longer depth of field.
I got the bus to the Speech House in The Forest of Dean with a friend and went for a walk. My aim for this shoot was to familiarize myself with the journey there and to get a lot of landscape photographs. I think that if I had taken more time on the first few images then they might have been a good addition to the series, as they were of wide, open landscapes which is fairly different to the rest of the photographs that I took where it was heavily wooded. I experimented a little bit with the type of photographs that I took. I photographed the Speech House, which is a manor by the forest. I also photographed trees from underneath, with a fast shutter speed so that the branches would be a silhouette but I am not sure how well they would fit into the photo book considering how they do not really illustrate how the forest looks.
Locke is a wildlife photographer from Gloucestershire who works in the Forest of Dean on a regular basis. He also has made a short film for the BBC as well as working on Springwatch and Countryfile. The images above were found on his website and photographed in the Forest of Dean. His photographs all illustrate the beauty of the forest, often creating a dreamlike quality with his use of available light. To most these photographs seem surreal and almost fantastical, partially due to the close proximity of the animals and the fact that most people will not have seen them up quite so close. The last photograph of the fox almost looks posed. Whilst I am not aiming to photograph wildlife, I think that his slow and observational approach is very effective and I will try to replicate it in my images. He has clearly waited to capture the environment and its settlers in their natural state.
Greta Tu is a photographer from Lithuania but currently working in Denmark. She has won the SNAPSHOT Teenagers International Photographic Prize and other awards. Many of her works focus on the female figure. When asked why in an interview she said “It’s not a deliberate choice; it is just what seems most natural to me.”
Some of her photographs, similarly to Dan Mountford, are double exposures. One of the differences is that she uses photoshop to overlay these photographs rather than creating them in camera. The images are all black and white and are of landscapes instead of architecture. I think that they are visually beautiful, and they are also quite abstract and symbolic. The different landscapes are used to represent different emotional states or personalities traits.
Greta Tu also photographs landscapes. The image below is different compositionally to other forest photographs that I have seen, as they tend to be taken at a wider angle and from farther away. This photograph is cropped in so that the tops of the trees aren’t visible, which creates a sense of mystery. It makes the location completely ambiguous, which is interesting and arguably conjures up feelings of being lost.
In contrast this photograph is of a vast landscape. It looks as though it was taken with an infinite depth of field, which when paired with the soft colours helps to make the photograph seem painterly. Everything in this image is soft and calming. I think that it is interesting that one person could photograph landscapes so differently whilst still maintaining their style through a colour palette and tone.
Dan Mountford is a photographer from Brighton who has previously done commercial work for Urban Outfitters, The Economist and NBC Universal.
He created a series of double exposures with landscapes and architectural photographs in the background. Some of them are recognizable landmarks around Brighton. The images were created “in camera,” meaning that he took the photographs on a roll of film instead of overlaying two separate images in photoshop. “Post production work consisted of a change in tone, the removal of odd blemishes & the addition of some vector.”
This series was taken by George Charisis in his home town near Igoumenitsa after the economic crisis in Greece, and the people who chose to leave city life behind to return to rural roots. “In their opinion, this may not only be the way to survive the ongoing crisis but could actually be the social shift needed to become sustainably self-sufficient.”
High key lighting and heavy contrast are used in this image to create a tense atmosphere, which reflects the topic of the photo story. The wide angle implies that the tension is vast and imposing.
The use of a path in the image on the left gives a sense of hope, as though the viewer is being led somewhere. This is helped by the greenery and mountains at the end of the pathway. I think that the photograph on the right of the long grass obscuring the cow’s face gives the impression that it is unmanageable, and possibly that situation is overwhelming.
He walked around the tracks in the town and photographed what he met, including Aris and his horse. This image is one of the few in the series that contain a person. I also think it is one of the most effective in the series. The subject and the horse both look very natural and the muted colours lend to the sense of calm that is present. Having the horse face sideways and the man look up at him alludes to a shared trust between them, as well as a sense of hope, which is often created when a person looks up in the direction of the sky. The composition fits the golden ratio, which I think is a part of the appeal as the image can be easily digested and nothing is distracting.