Image 1
This is my favourite image from the collection; there is an ethereal glow to the light dancing on the sand and the reflection of the cooling towers on the sand looks like it could have been there in real life, seamlessly blending the two images from completely different locations. As a single image the cooling towers create an imposing feeling in the viewer from their monolithic size and thoughts that are conjured in the viewer's mind through association with the vapors and gasses emitted into the air. When viewed in conjunction with the beach scene it reminds the viewer of the very real things this pollution could impact upon; therefore communicating the intended message of raising awareness of the damage humans are causing to the environment.
The image uses a wide depth of field so that all elements in the frame are in focus. There is some lens distortion to the top of the cooling tower on the left which can be distracting as it is the most prominent tower. This will require further work in post-production before the image is printed for the exhibition.
The eye is drawn up the image, with the seagulls landing and taking off first capturing the gaze, then drifting up to the unexpectedness of the cooling towers. Initially the image may be classed as a broad landscape photograph, however, on closer inspection the individual details of the scenery are revealed from the hedgerows and fencing trying to contain the towers, to the Another Place figures identifying the beach as Crosby Beach.
Image 2
Image 2 is an example of one of the macro perspective images from the collection. It uses purple tones to merge an image of saltwater mussels and shells found on beach-combing trips throughout the UK with the graffitied word "FEAr..." found on the side of the sea wall in Margate, Kent. This image is one of a pair, combined with another close-up of the shells found in rock pools, that was merged with a coating of petrol floating on water. As a pair the colours work well to link them and strengthen the message, however, as a stand alone image, this does not work so well. As part of the collection the word seeks to reinforce the message of the sometimes unknown damage that is being done to our environment with human hands. As an independent image this could be interpreted as fear of the sea and what can be found in it, rather than the intended message of the project.
The mussel in the bottom left-hand corner is out of focus, however, this is hidden by the filmy sheen of the wall the graffiti was sprayed on. Also the translucency of the wording makes it difficult to clearly read the writing. If I was to make this image again I would like to experiment with a more staged approach to the arrangement of the shells, using their shape to help spell out the wording and support the message. None of the images from this project were artificial scenes, and so this approach may not fit with the 'found' and natural elements of the project, but would be worth exploring to see if it produced a more aesthetically pleasing image.
Image 3
The third image is one of three images intended to be displayed together that feature the white chalky cliffs of Kent. I love the drama of this image, with the majestic cliffs seemingly dwarfing The Shard, the tallest building in Europe. The repeated triangle shapes of the building and arch in the cliff strengthen the viewer's enjoyment of the image, bouncing the gaze along from left to right, ending in an awe-inspiring blue expanse of sky.
As with the Image 1, this uses a wide depth of field so that all elements of the photographs are in focus, the viewer could even read the bus stop location of St Georges Circus if they so wished. However, the bus stop and construction boards do provide some clutter to the image; taking them out, or recomposing the scene, may improve the image and more effectively concentrate the gaze on the buildings.
As a sample of the Looking into the Depths project, these three images show the different macro and micro perspectives that were explored. I will extend this critique process to the remaining nine images and use this, alongside Assignment 2: Critical Reflection to inform my choice of final images to be displayed at the exhibition in June.
