Photoshoot Plan
I didn’t originally plan on this photoshoot, however, when I was taking photos of St Aubin’s harbour I thought it would be a good idea to take photos of the hill on the other side as I thought it looked good. This will also create a further sense of Unity in my work as the subjects of my joiners all link.
Camera Settings
I used Shutter Priority with an ISO of 100 and a shutter speed of 1/800.
Contact Sheet
Image Selection
Deconstruct the narrative, concept and design of the book and apply theory above when considering -
Book in hand: how does it feel? Smell, sniff the paper –
Holding Genesis feels like holding a piece of the Earth itself. The book is fairly heavy, solid and full of raw beauty within the images. The thick, textured pages have a subtle, woody scent, like freshly printed paper. As you flip through, the black and white landscapes almost feel alive, with every detail standing out in the matte finish. It makes it feel like more than just a book, it’s an experience that pulls you into the untouched, breath taking world of nature with each turn of the page.
Paper and ink: use of different paper/ textures/ colour or B&W or both -
Genesis uses thick, matte paper that adds a tactile weight to the book. The black and white images stand out with depth and detail, enhanced by the subtle texture of the paper. The lack of colour lets the raw beauty of the landscapes speak for itself, creating a timeless, immersive experience.
Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages -
Genesis is a large format photobook, with an A3 size that showcases the stunning black-and-white images in landscape orientation. The expansive layout allows the breath taking landscapes to be displayed in all their glory, with plenty of room for detail. It has 528 pages.
Binding, soft/hard cover. image wrap/dust jacket. saddle stitch/swiss binding/ Japanese stab-binding/leperello –
Genesis has a hardcover with an image wrap, showcasing a striking landscape. It uses Swiss binding, allowing the book to open flat, and has no dust jacket, letting the cover image shine.
Cover: linen/ card. graphic/ printed image. embossed/ debossed. letterpress/ silkscreen/hot-stamping –
The cover of Genesis is made of linen with a printed image, featuring a sleek, minimalist design.
Title: literal or poetic / relevant or intriguing –
The title Genesis is both literal and poetic. It references the beginning or origin of life and nature, while also invoking a sense of awe and creation, perfectly aligning with the book’s exploration of untouched landscapes and the beauty of the Earth. It’s both relevant to the theme and intriguing, drawing readers into a journey of discovery.
Narrative: what is the story/ subject-matter. How is it told? -
Genesis tells the story of Earth’s most untouched and wild places, capturing pristine landscapes, indigenous cultures, and wildlife in their purest forms. Through stunning black-and-white photography, Sebastião Salgado showcases the planet’s natural beauty, documenting everything from icy polar regions to vast deserts. The narrative is told through his powerful images, which speak for themselves, immersing the viewer in the rawness and stillness of these environments. The photos invite contemplation and reflection, making nature the central storyteller.
Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative -
Genesis is structured by geographic regions, each showcasing different landscapes. The black-and-white photography and repeating motifs of dramatic light and shadow create a cohesive narrative, highlighting nature’s raw beauty. The design flows naturally, emphasizing Earth’s untouched spaces and building a visual journey of its origins.
Design and layout: image size on pages/ single page, double-spread/ images/ grid, fold- outs/ inserts –
Genesis features full-page and double spread images, with a clean layout that lets the photographs shine. There are no fold outs or inserts, just powerful imagery and minimal text.
1. Research a photo-book and describe the story it is communicating with reference to subject-matter, genre and approach to image-making.
"Genesis" by Sebastião Salgado –
What is the book about? -
“Genesis” is a breath taking photographic journey by Sebastião Salgado that explores the last truly wild and untouched places on Earth. Over the course of eight years, Salgado travelled to remote regions across the globe, from the frozen landscapes of Antarctica to the dense jungles of the Amazon, the vast African deserts, and the towering peaks of the Himalayas. His black and white images capture the raw beauty of nature, untouched by modern civilization, as well as the indigenous communities and wildlife that live in perfect harmony with their environments.
This book is a visual celebration of Earth’s purest landscapes, where time seems to stand still. Salgado’s dramatic use of light and shadow brings out the depth, texture, and emotion in every scene, making even the simplest landscape feel powerful and alive. More than just a collection of stunning photographs, Genesis is a call to appreciate and protect the natural world before it disappears. Through his lens, Salgado reminds us that there are still places on this planet that remain as they were thousands of years ago, sacred, untouched, and awe-inspiring.
How does the book relate to the theme of 'UNION'? -
Sebastião Salgado’s Genesis perfectly connects to the theme of union in multiple ways, especially when looking at how nature, people, and light all come together in harmony.
One of the biggest ways Genesis reflects union is through its deep connection between humanity and nature. Salgado captures untouched landscapes and indigenous communities who live in perfect sync with their environment. These images show how humans and the Earth are not separate but part of a greater whole, existing together in a delicate balance. This idea of unity is especially powerful in today’s world, where modern society often feels disconnected from nature. His work reminds us that true harmony comes from respecting and preserving the natural world.
Another way Genesis ties into the theme of union is through the way he captures the merging of natural elements such as light meeting land, rivers weaving through mountains, and clouds blending into vast skies. His use of black and white photography enhances the contrast and connection between these elements, making them feel inseparable. Just like in a sunset where colours blend seamlessly, his images show how every part of the Earth is interconnected, forming one breath taking, unified landscape.
Overall, Genesis is about the unity of the past, present, and future. Its a reminder that these untouched places have existed for thousands of years and that it’s our responsibility to protect them. It’s a tribute to the way nature and people can exist in harmony, making it a perfect visual representation of union.
Who is Peter Lik? -
Peter Lik is an award-winning Australian landscape photographer known for his breath taking images of nature, particularly his stunning captures of sunsets, oceans, and vast landscapes. Born in 1959, Lik developed a passion for photography at a young age and later became famous for his ability to capture light, colour, and texture in an almost surreal way. His signature style blends dramatic compositions with rich, vibrant tones, making his work instantly recognizable. Lik has gained worldwide recognition, with some of his prints selling for record-breaking prices, solidifying his status as one of the most successful fine art photographers. His deep appreciation for nature is evident in every image, inspiring viewers to see the world’s beauty through his lens.
What styles does he use? -
Artistic Style & Themes
Peter Lik’s style is honestly insane. His photos don’t just capture landscapes they make them feel larger than life, almost like stepping into a dream. They give off a very surreal feeling even just from being a viewer of his work. He plays with light in a way that makes every scene feel so alive, whether it’s the glow of a sunset over the ocean or mist creeping through a canyon. One of the things that really stands out to me is how rich and vibrant his colours are. His sunsets aren’t just soft pastels, they explode with deep oranges, fiery reds, and intense purples, creating this super dramatic effect that makes his work instantly recognizable.
Another thing I love about his style is how he balances everything so perfectly. His compositions are always on point, he knows exactly where to place the horizon, how to use leading lines, and when to shoot to get the best possible lighting. A lot of his shots feature reflections, either in water or glossy surfaces, which makes the whole scene feel even more surreal. It’s like he finds a way to amplify nature’s natural beauty instead of just documenting it. His work has this mix of peacefulness and intensity at the same time, which is what makes it so unique.
Mood board of his work -
What techniques does he use? -
Techniques & Approach
Peter Lik is all about capturing the most epic landscapes, and he definitely knows how to make nature look its absolute best. One of the biggest things he focuses on is natural light, he times his shots perfectly to get the most dramatic lighting possible, whether that’s during golden hour, right at sunset, or even in the middle of the day. His ability to work with light is next level, and it’s a huge part of why his images feel so bold and cinematic.
When it comes to his photography gear, he shoots with high end medium format cameras, which help capture crazy amounts of detail and depth. He’s also big on using long exposures, especially for shots of moving water or clouds, giving them that soft, almost otherworldly effect. Another thing he does a lot is panoramic photography, stitching multiple images together to create these massive, ultra-detailed prints. And of course, post-processing plays a role too. His edits enhance the natural vibrancy of the scene without making it look too artificial. It’s clear that he doesn’t just take pictures; he builds an image with a perfect balance of composition, light, and colour to create something that feels almost too perfect to be real.
Peter Lik photo analysis -
This photo is a beautiful example of sunset landscape photography, utilizing a balanced composition and soft, flowing textures to create a peaceful and surreal atmosphere. The horizon line is placed near the upper third of the frame, following the rule of thirds to maintain a well-structured and visually pleasing balance. The rock formations scattered throughout the scene add depth and serve as natural focal points, guiding the eye toward the horizon where the warm glow of the sunset meets the deep blue sky. The water’s movement creates leading lines in the foreground, naturally pulling the viewer into the scene.
The lighting and colour balance in this image are striking. The sky transitions smoothly from a deep, rich blue at the top to a warm, golden-orange near the horizon, creating a stunning contrast between cool and warm tones. The wet sand reflects these colours, amplifying their vibrancy and adding to the dreamlike quality of the scene. The dark silhouettes of the rocks stand out sharply against the colourful background, adding a sense of depth and making the sky appear even more luminous.
From a technical standpoint, this image likely uses a long exposure technique, which gives the water its smooth, misty appearance. A low ISO (100-200) ensures the image remains sharp and free from noise, while a small aperture (around f/8 to f/16) keeps the entire scene in focus, from the foreground to the distant horizon. The slow shutter speed allows the movement of the waves to be captured as a soft blur, emphasizing the sense of peace.
Overall the mood of the image is calm and relaxing, creating a deep sense of peace. The contrast between the static, solid rocks and the almost ethereal water creates a dynamic yet harmonious balance. The way the colours blend seamlessly into one another makes the scene feel almost too perfect to be real, reinforcing the idea that nature, in the right moment and light, can appear truly magical.
Who influenced Peter Lik? -
Peter Lik’s work is definitely influenced by his deep love for nature and the way light transforms a landscape. You can tell he’s drawn to those dramatic, fleeting moments like the exact second the sun dips below the horizon or when mist rolls through a canyon. His photos feel like he’s capturing something rare and almost untouchable, which makes them so powerful. He’s also clearly inspired by travel and adventure, always seeking out the most breath taking locations. Whether it’s deserts, oceans, or mountains, he finds a way to make them look even more surreal and awe-inspiring. His ability to bring out such intense emotion in his work has definitely influenced a lot of photographers, and it’s easy to see why. His images don’t just show a place, they make you feel like you’re standing right there, taking it all in.
Personal Opinion -
What I love most about Peter Lik’s work is how he makes nature look so unbelievably vibrant and alive. His photos aren’t just pictures of landscapes; they feel like moments frozen in time, but somehow still full of energy. The way he plays with light, especially during sunsets, makes everything feel so rich and intense, like nature turned up to its highest setting. I also really admire how he captures depth and movement, especially in his long exposure shots where the water looks smooth and misty. It makes everything feel so peaceful but also a little surreal.
His style definitely inspires me because it proves how much of a difference lighting, angles, and timing can make in photography. It’s not just about taking a picture, it’s about waiting for the perfect moment and knowing how to bring out the best in a scene. I’d love to experiment with capturing more dramatic lighting and bold colours in my own photography, especially during sunset. His work reminds me that nature already has all the beauty we need, it’s just about learning how to see and capture it in the right way.
I started off this joiner by, once again, creating a mock-up on Powerpoint.
I then selected the images in Lightroom and cropped them so that they were the same.
I exported these images into Photoshop and formed my joiner.
I then changed the brightness, contrast and exposure of each of the segments separately to get my final result:
Photoshoot 1:
For my first photoshoot I did not have much plan yet but I went into the studio and took some photos of still life, and my phone which I may end up using in my final piece but I always find that my first photoshoot is the practise photoshoot.
I took 29 photos in this photoshoot.
After that I went through and flagged which ones I wanted to edit and where the best and most likely to use, this left me with 12 photos.
Photoshoot 2:
In my second photoshoot I had an idea of what I would do for my project and when I wanted to do it, I still think it was more rushed, I took street photography photos in town and also some photos of my friends being coupley or on dating apps to represent love today, romance, and social media has affected that and also some recreations of old in day couple photos.
In this photoshoot I took 137 images.
Once again I went through and selected the best ones and ended up with 47 images. These I plan on editing and improving to hopefully use in my final project.
Photoshoot 3:
In this photoshoot I took 164 photos, of my friends who are in a couple that was similar to old photos that I used as inspiration but except they where on their phones, to show a contrast and juxtaposition.
That I slimmed down to 33 photos that I will edit and choose the best ones for my book.
Photoshoot 4:
Photoshoot four was a photoshoot in town of street photography mainly just people walking by on their phones not paying attention to things around them, maybe missing out on future relationships they past by.
I only took 30 photos in this photoshoot, and will probably take more but these photos will just be fillers in-between pages probably to show even more affect of social media.
Then I slimmed that down to 7 photos, to edit.
Photoshoot 5:
In this photoshoot I went into the studio and mainly used roses and a skull to get symbolic images of romance and death.
This was 113 photo in this photoshoot.
This was cut down to 32 photos.
Photoshoot 6:
I then took more photos, in Churchill park in St Brelade. there are 89 photos here.
then slimmed them down to 22 photos.
For these edits, I decided to mix photoshoots 1 and 3 together and did edits on photoshop .
For these edits, I chose the two images I wanted to mix together. I made sure that I had one image from photoshoot 1 (outdoors) and one image from photoshoot 3 (indoors). I put the outdoor photo on the bottom in many of my edits and then opened another tab where id chose the photoshoot 3 image. using this image I clicked on the selection brush tool and cut out the part of the image I wanted (Alannah and Ethan) I changed the size of the brush to a smaller size when I began to cut out the edges. after completing that step, I then right clicked the selected part and pressed layer via copy. this then created a new layer on the side of the edit. I then dragged this tab down so that it was seen with my photoshoot 1 image. while being on the move tool, I was able to move over the cut out layer onto my other photo. I removed the extra tab I didn’t need and then moved the cut out part to where I wanted it on the image. I experimented with colour before deciding that using black and white worked better. I clicked on adjustments and then black and white for both the background and the cut out image. I selected the cut out portion and double clicked the box on the right side where the layers are. I then adjusted the opacity to around 80% which meant the underneath image was able to be seen through it. I repeated his step for each of the edits below sometimes using three images instead of two.
Here I went into the studio to take some portraits of the model, most of these portraits of the model show that the model isn’t really posing and is simply just smiling, however when taking these photos there was a dark shadow left behind the model and I had to use photoshop and Lightroom classic to get rid of it, simply by asking AI to select the background and leave the model out, then I was able to change the hue/ saturation of the background, I turned the saturation all the way up so that the background was fully white and no shadow was showing. I had to repeat this for each photograph, due to the shadow overpowering the photo. I also did the basic editing changing the levels and adjusting them to make the photo look more coloured and bright.
If I were to redo this photoshoot I would have simply make the model sit a little bit further away from the back wall as that implemented in the shadow being quite dark and powerful and I would also like the model to do a range of poses and less portraits that look quite boring and simple, this would help spice up the photograph and make it more original, as from my inspiration photos the models aren’t just taking basic portraits, the model is doing a certain face is is standing a certain way which makes the photo look different and unique. I do also feel like these photos may have been slightly over exposed as they look really bright and have quite a hard light shining on them. This can be fixed in photoshop as I can control the levels of the photo but it can be more difficult due to changing the hue/ saturation of the background interfering with the model. I did manage to get a few good photos but I would have liked to have captured are with either the same or different model wearing different clothes to make it stand out more and make it less obvious that it is the same model. I will be doing some experiments with these photos to see if I can capture and create any photos similar to surrealism and how that can help to make the theme of union come to life. My main goal is to try and implement the idea that everyone has a life and everyone is living it. We only live once and people make mistakes as its part of learning and living. I tend to go by with the key word ‘sonder’, meaning everyone has a problem going on in their life but some choose to hide it and others don’t, you cant always know that someone is fighting a battle especially the people you don’t know and the people walking past you the street every day. I’m trying to represent this word with my photos by showing that the model can feel a certain way in one moment and feel different the next, for example when editing these photos together I will be putting a portrait of the model as the man focus and then picking a suitable photo I took to go on top almost as if the model is standing n herself, both these models may be feeling a different type of way and each photo was taken as the same time within a space of minutes. It just shows that peoples feeling can sometimes be over looked and not taken into consideration.
I do think that this photoshoot went well as I was able to capture a decent amount of good photos. Although these photos are really basic, this will allow me to edit them with different colours and graphic design, for example I really like the threshold filter as it makes the photos look a lot like Andy Warhol’s photographs. I can also make them more original to me by making the photos into black and white whereas Warhol makes his photos stand out with a pop of colour. I can also experiment with the blending tool and put my photos on top of each other and select a certain blending mode, this will make my photographs look quite interesting and different. Overall, this photoshoot went quite well but I did do a mistake with having a shadow present in the background which makes it really difficult to focus on the subject (the model).
Concept & Theme -The theme behind this shoot is ‘UNION’ In which I have decided to represent through capturing how colours naturally blend together in a sunset. I really want to focus on the soft, effortless transition between hues, kind of like how everything in nature just fits together perfectly. It’s a simple but powerful way to represent connection, peace, and harmony. To bring this to life, I’m planning to get shots that highlight colour merging creating images like reflections in water, silhouettes against the sky, and cloud textures. The final images should feel warm and calming, almost like you’re standing there watching the sky change in real time.
Location & Timing -Picking the right location is key for this kind of shoot however I also want it to be natural so I will be planning a few specific locations while also just taking some photos depending on where I am at the time of the sunset. Preferably I would need a spot with a completely open view of the sky so nothing blocks the colours as they blend. Some ideas I have are a beach, a hilltop, an open field, or even a rooftop with a clear horizon. If I can find a spot with water (like a puddle or the ocean), that would be perfect since reflections would enhance the whole merging effect.
Timing is super important too. some of the times of day I will try to capture at will be the golden hour, This would have the best lighting. It starts about 30–40 minutes before sunset, so that’s when I want to start shooting. The real magic happens in the 30 minutes before and after the sun actually sets, because that’s when the colours shift the most. I’ll need to check the exact sunset time for my location and make sure I get there early enough to set up.
Shot List & Angles -To really bring out the theme, I want to get a mix of different shots and angles:
Wide-angle shots to capture the full gradient of colours. These will show how the sky blends together as a whole.
Close-ups of clouds because they naturally mix colours in cool, unexpected ways.
Silhouettes of people, trees, or buildings to create contrast against the soft sky.
Reflection shots using water or glass to double the colours and make them even more striking.
Motion blur effects (if I can pull it off) to make the colours look like they’re literally melting into each other.
I’ll also keep an eye out for unexpected moments, maybe birds flying through the frame or waves catching the sunset just right.
Equipment & Camera Settings -I want to keep my setup pretty simple but effective. I’ll be using a canon camera with a wide-angle lens (probably something like 16-35mm) for big, open shots and a 50mm or 85mm for closer, more artistic details.
A tripod is a must for sharper shots and longer exposures, especially as the light fades. I’ll also bring a remote shutter release (or just use a timer) to avoid camera shake.
Props & Creative Extras -I don’t want to overcomplicate things, but a few small props could make a difference. I might bring a prism or a piece of glass to play around with light reflections and refractions. A reflector could help bounce warm light onto a subject’s face if I do any portraits. If I really want to push the “merging colours” idea, smoke bombs in sunset shades could be fun, but only if they don’t feel forced.
Editing & Post-Production -Editing is going to be super important in bringing out the natural beauty of the sunset without overdoing it. I want to enhance the colours while keeping everything looking real and dreamy.
I will do all my edits on both lightroom & photoshop.
Colour correction: Adjust hues so they blend as smoothly as they did in real life.
Exposure & contrast tweaks: Just enough to make the image pop without making it look artificial.
Selective sharpening & softening: I want the sky to feel soft while keeping key elements (like silhouettes) crisp.
Cleaning up distractions: Removing any random objects or weird lighting flares that take away from the scene.
I’ll be using Lightroom and Photoshop to fine-tune everything, making sure the final edits match the mood I envisioned.
Final Presentation -Once I’ve sorted through and edited the best shots, I’ll put together a final selection that really tells the story of the sunset’s merging colors.
5–10 best shots that showcase the theme in the strongest way.
A timeline series of photos showing the sky’s transition over time.
Behind-the-scenes captures (if I remember to take them!) to document the process.
Before & after edits to show how small adjustments bring out the best in each shot.
For the complete final layout I will be making a photobook to complete the project using lightroom and Blurb to get the photobook printed.
Photoshoot Plan
For this photoshoot, I wanted to create a joiner of St Aubin’s Harbour. I wanted to do this photoshoot as I thought it would link well to my previous two joiners, creating unity in my work.
Camera Settings
For this photoshoot, I used Shutter Priority with an ISO of 100 and shutter speed of 1/800.
Contact Sheet
Image Selection
