Lebohang Kganye

A Bit About Her

Lebohang Kganye – is 36 from Johannesburg, South Africa and is interested in self portraiture. Her work is focused mainly on personal history and also collective history of her culture. Looking further back into her family archive. She does this by making creative structures and going to certain locations where her family once was and using certain camera techniques such as double exposure. She treats her work as more of living memories of those close to her. She is further able to attempt to receive a clearer perspective of what life was like for her ancestors. By combining her photography skills with her creative art skills that she learnt after receiving her Master in Fine arts. This allowed her to unite these two talents and make pieces of work that connect to form a strong relationship

Why Am I Studying Her?

Her images connote to a past generation. This is an idea I would like to follow and link my interpretation of the word origin. I believe that her images hold a deeper meaning and show the connection that she has with her past and how she understands the importance of certain movements that have led her to be able to freely live her life.

Below is a hyperlink that goes to her website which can further show the work that goes into her images and the design and format of them.

https://www.lebohangkganye.co.za

Image Analysis

Technical:

Lighting: She uses artificial lighting that is positioned behind the camera so shadows around her are visible. There is a good contrast between the designs that she has made and the shadows because of the colours being black and white.

Looks to also be using a higher aperture with either an automatic ISO or an ISO like 200 as they are shooting in the light. The temperature seems to be quite warm as the light has more of a warm tone

Visual: There are visible cardboard cut outs which were made from the original pictures of her late family. She seems to of placed herself in these images to almost put herself back in touch with her late ancestors. The images are in colour but contain an imagery of black and white. Also the photo gives off more of a cold town with a white light being placed on the roof. This is visible through the shadows created around each cut out

Contextual: The people that have been cut out are the people of her past family. Lebohang is really interested on the life of her past and how people at that time lived. Her work aims to celebrate those who can usually be forgotten through imagery that captures their hard work through the years.

Conceptual: This contemporary piece of work connotes to a deeper meaning than just an image. It aims to produce images that are more of a reflection on a certain time period almost to freeze it in place is that it will never be forgotten and how things in life should not be taken for granted

For my final project responding to the theme Origins I intend to explore life cycles, mortality and the inevitability of decay by photographing flowers, documenting their deterioration in a domestic setting. I find it fascinating that the beginning of life coincides with the commencement of decline and this is something I aim to explore throughout this project.

This idea was inspired by Celine Marchbank, particularly her Tulip series, where she uses flowers to reflect personal loss and the quiet progression of morality. I am also influenced by Alexamder James Hamilton’s modern approach to Vanitas, where he uses flowers and other symbolic objects to reference tradition and emphasize the impermanence of life. In addition, Robert Mapplethorpe’s work has informed my visual approach, particularly his use of dark minimalist backgrounds and dramatic lighting to isolate the subject and create a sense of intensity. Their approaches have informed my decision to use a domestic location, varied angles and controlled lighting, alongside subtle Vanitas elements such as glass, petals and water to create conceptual depth.

For my final outcome, I plan to produce a physical installation of around 20-30 prints, displayed so that the first image connects to the last to symbolise cyclical life processes. I am going to arrange my images to transition from their peak/bloom through their decline and fragmentation before looping back to the beginning. The variety of angles, scale and abstraction aim to capture and highlight the process of decay in a creative way, enabling the viewer to consider the certainty of death in relation to origin.

Through this project, I intend to create a conceptually thoughtful, technically defined production of work that exposes the fragility of the life cycle, connecting domestic intimate environment with vanitas symbolism and the theme Origins.

Photoshoot Plan 1- Observing Change Over Time

Concept:

This shoot is going to focus on observing and documenting the natural deterioration of flowers in a domestic setting. By photographing the same bunches of flowers repeatedly from different angles and under different lighting conditions, I aim to capture subtle physical changes like drooping petals, discolorations, and decay. 

Location:

I am going to use a domestic setting in my home to create a personal and intimate atmosphere, inspired by Celine Marchbanks. 

Subject:

Roses and other flowers that are already present in my home. 

Experimentation:

• Photographing from multiple angles (overhead, eye level, close-up) 

• Experimenting with natural and artificial lighting 

• Changing depth of field to isolate details 

• Capturing texture and subtle changes in form 

Outcome:

This photoshoot begins documenting the process of decay, introducing the theme of mortality and establishing a consistent setting for the project. 

Photoshoot Plan 2- Bloom and Vitality

Concept:

This photoshoot will explore the origin and peak stage of the life cycle, focusing on daffodils as they open and reach full bloom which creates a visual contrast with the deterioration shown in my first photoshoot.

Location:

Same domestic setting to maintain visual consistency. 

Lighting:

• Dark background to isolate the flowers 

• Directional lighting to create contrast and emphasize shape 

Subject:

Daffodils photographed at different stages as they open. 

Experimentation:

• Close-up and macro photography 

• Controlled lighting to highlight structure 

• Multiple perspectives and framing 

• Capturing the moment the flowers bloom 

Artist Influence:

I was Inspired by the symbolic use of flowers within vanitas imagery by Alexander James and Robert Mapplethorpe’s dramatic compositions.   

Outcome:

This photoshoot shoot will represent the peak of life, providing a visual contrast to the decline explored in my previous images. 

Photoshoot Plan 3- Vanitas and Symbolism

Concept:

This photoshoot will explore mortality and impermanence through vanitas symbolism. By incorporating objects associated with vanitas imagery, it aim to move beyond simple observation of decay and develop conceptual depth. 

Location:

In the same domestic environment to maintain continuity. 

Subject:

Flowers at various stages of decay along with symbolic objects. 

Vanitas Objects:

• Glass containers 

• Water 

• Fallen petals 

• Reflective surfaces/mirrors 

• Dramatic lighting 

Experimentation:

• Close-up images of texture and deterioration 

• Exploring abstraction through detail 

• Arranging objects to create symbolic compositions 

Artist Influence:

I was Influenced by Alexander James modern vanitas images.  

Outcome:

I intend to produce images that emphasize the symbolism of mortality and strengthen the connection between Vanitas and the theme Origins. 

Robert Mapplethorpe

Robert Mapplethorpe (1942-1989) was an American photographer, known for his precise, carefully composed black and white images. Even though he is best known for his controversial nude images, his flower studies demonstrate an intense focus on form, beauty and contrast.

He once stated “I see things like sculptures.” this is shown in the way he isolates flowers against dark, empty backgrounds, transforming natural matter into monumental forms. His work shares a connection to vanitas traditions, where flowers become a symbol of mortality. Yet, unlike traditional Vanitas imagery that focuses on decay, Mapplethorpe captures flowers at their peak, full bloom. This implies that origin and ending exist together within a single moment.

I have chosen to research Mapplethorpe because he captures flowers in a moment of perfection/peak which paradoxically signals the beginning of decline. This makes a unique connection to my theme origin and exploration of mortality. His work includes modern techniques and historical symbolism, by positioning natural forms within a carefully controlled studio environment. The tension he captures between organic and regulated fragility is significant to my investigation and through researching and understanding Mapplethorpe’s work I aim to strengthen the context surrounding my project.

Flowers:

Studying mapplethorpe has already influenced my understanding of how composition and lighting can enhance a simple subject and turn it into something symbolic. His use of black-and-white imagery to emphasise form, contrast and tone inspires me to experiment with dark backgrounds to isolate my flowers. However, unlike Mapplethorpe’s images that suggest mortality through control and stillness, my images will reveal it through visible change.

Image Analysis

Visual

Visually, the image presents a simple still life composition featuring a single flower placed in front of an up-right knife. The flower appears delicate, with soft curved petals and a thin stem, while the knife introduces a stiff, sharp form. These contrasting shapes create visual tension within the image. The background is dark, which isolates the two objects and directs attention to their relationship. The shiny, reflective surface of the knife contrasts with the soft texture of the flower, emphasizing the flowers’ natural fragility. The minimalistic composition makes the interaction between the two subjects the main focus of the image and highlights the strong contrast between them. 

Technical

Robert Mapplethorpe is known for his precise studio photography and controlled compositions. In this image, the lighting appears directed to highlight the forms and textures of both the flower and the knife.  The strong contrast between light and dark emphasizes and defines the shape of the petals and the blade. The image is carefully composed and balanced; the knife and flower are placed close together, which immediately brings their relationship to attention. He uses a shallow depth of field to keep the subjects in sharp focus while the background remains subdued and unobtrusive. 

Conceptual

Conceptually, the image explores the contrast between beauty and danger. The flower symbolizes life and natural beauty, while the knife represents sharpness, threat, and potential harm. By Placing these objects together, Mapplethorpe suggests that beauty is vulnerable and temporary. The knife can be interpreted as a symbol of mortality and used to remind viewers that life is fragile and can easily be destroyed. Through this simple yet powerful composition, Mapplethorpe visualizes the delicate balance between life and death.

Contextual

Mapplethorpe frequently photographed flowers and still-life subjects in his studio, treating them almost like sculptures. His images focus on form, balance, and symbolism. Flowers have historically been used in vanitas still life imagery to symbolize the temporary nature of beauty and life. By introducing a knife into the composition, Mapplethorpe creates a modern interpretation of this which suggests vulnerability and the potential for destruction within something beautiful.

Alexander James Hamilton

Moodboard

Alexander James hamilton is a British contempory photographer. His work is majorly influenced by the 17th century vanitas painting. He explores this genre by creating staged, carefully composed still-life images which focus on mortality, flowers, decay and the passage of time. His work is a combination of historical artwork and modern photography, incorporating traditional symbolism with present-day techniques. Hamilton often uses dark backgrounds to showcase his subjects, including flowers submerged in water, allowing them to be captured clearly and distinctly. This contrast dramatizes the image and evoking a spiritual atmosphere.

Riverbrook with roses

Riverbrook with roses is one of the many underwater floral scenes Hamilton has created and captured, he is passionate about and well known for this set up. This technique enables him to capture flowers in a slow, rippling state, creating suspension and exposing the flowers fragility.

Image Analysis

Visual

The image displays a wide arrangement of flowers and foliage submerged in water against a dark background. Light pink roses, green ferns, and delicate circular flowers are scattered horizontally across the frame, which creates a layered composition, depth, and movement. The dark background isolates the floral forms, which in turn emphasizes their colours and textures.  The water distorts areas of the plants, causing petals and leaves to appear blurred or . This distortion creates an almost painterly quality and introduces movement, which reinforces the organic shapes within the composition.  

Technical

Technically, the photograph appears to be created using controlled studio lighting, which highlights the delicate textures of the flowers while maintaining strong contrast against the dark background. The scene is photographed underwater, which refracts and warps the light, creating distortion and highlighting areas of the image. This technique causes subtle movement and fragmentation within the composition, which creates a dreamlike visual effect. The wide, panoramic framing allows the botanical elements to interact across the frame. Whilst the depth created by the water intensifies the three-dimensional form of the plants. 

Conceptual

Conceptually, the image explores themes of fragility, impermanence, and mortality. Flowers were traditionally used to symbolize beauty and life, yet when they become submerged underwater, they appear distorted, and unstable. The water acts as both a visual and symbolic element by demonstrating the passage of time and visualizing the gradual transformation of living organisms. The distortion of the flowers alters their natural appearance, which acts as a reminder that beauty is short-lived and constantly changing. Through this image, James reflects on the temporary nature of life whilst making direct connections to vanitas symbolism.  

Contextually

This image is part of Alexander James’ series of vanitas-inspired images. His work makes references to 17^th century vanitas still life paintings, which used floral and natural objects to symbolize the transience of life. By photographing flowers underwater, James reimagines this historical tradition in a creative, contemporary way. The use of water evokes a sense of instability and transformation, reiterating the temporal nature of life and beauty. 

Why I Chose This Artist

I chose Alexander hamilton because his work directly connects to my theme ‘Origin’ and exploration of flowers as symbols of life cycles and mortality. I was particularly interested by his connection to Vanitas, particularly how he modernised the tradition by focusing nature and the life cycles of flowers and drawing away from the obvious symbols like skulls etc. His work has influenced meto think about how I can make my images more symbolic and meaningful using ligbting and conposition. His combination of past and present has inspired me to explore this within my own project and create images that have meaning.

Celine Marchbank

Celine Marchbank is a British photographer/artist who lives in London. Her work explores the complexity and beauty in everyday life, often intimate and reflective. She investigates themes such as memory, family and home, using photography to reflect on/capture emotional processes and life changes. She also teaches photography at Falmouth University, bringing technical and academic aspects to her work. Her work has been broadly recognized and is displayed in many international collections. She continues to teach photography whilst producing her own images that encourage viewers to reflect on personal and universal human experiences.

“I am interested in the way flowers visually represent the ageing process. Flowers express the effects of time in a very short period. They remind me of the mortality of everything around us. We are literally watching them die on a daily basis but it is such a beautiful process.”

Celine Marchbank

Moodboard of her Images

Tulip

Context:

In September 2009 my Mum was diagnosed with Stage 4 lung cancer, the worst it could be. This meant that the cancer had already spread to distant parts of the body, she had developed a secondary tumour in her brain and a third near her spine. Following a succession of emotionally and physically debilitating treatments including brain operations, chemotherapy, new drug trials and radiotherapy, it was clear that nothing was working. It was too late. By April 2010 they had confirmed it was terminal.

Having painfully come to terms with the fact she was going to die, I decided I didn’t want this project to become a graphic portrayal of her death. My mother was an amazing woman, and it would have been impossible, and wrong, to focus only on the dying part. I wanted to look at the things that made her uniquely her. Her love of flowers was a beautiful part of her personality; the house was always full of them, and I realised as I photographed them, that they were symbolic of what was happening – they represented happiness, love, kindness and generosity, but also isolation, decay, and finally death. Her house was, like she was, so individual. She had distinctive, slightly childlike taste, loving anything bright and cheerful, especially stripes. I needed to document it all. This project became not just about her, but our family home, our life, and of course, her beloved cats.

Celine Marchbank

Tulip was Celine’s first photobook, published in 2016. It’s a personal project, made during her mother’s final year of life. In September 2009 her mum was diagnosed with stage 4 lung cancer She chose to focus not on her mothers illness but the small, intimate details that formed her mothers world- especially her love of flowers. In Tulip, Marchbank uses flowers in a domestic setting, the flowers first appear vibrant, colourful and full of life. As the book progresses they begin to wilt and decay in a natural almost cyclical way, linking to the project title Origin by visualizing death as a continuous process rather than the end. Her decision to photograph scenes of things her mother loved and cherished is significant because it focuses on her mothers identity, uniqueness and essence, rather than documenting her illness in a cold, clinical way. Her work has been broadly recognized and is displayed in many international collections. She continues to teach photography whilst producing her own images that encourage viewers to reflect on personal and universal human experiences.

I was also inspired by her later series- Shot in Isolation, she explores emotional separation by framing her flowers to emphasize distance and vulnerability. Her use of flowers to symbolize emotion and visualize life/death and mortality fascinated me, inspiring me to explore this within my title ‘Origin’.

Image Analysis

Visual

In this image, you can see a small arrangement of wilted flowers inside a blue glass container on a wooden table. The image has a minimal composition; the subject is positioned in the center and surrounded by large amounts of negative space, which evokes a sense of isolation. The warm colours of the flowers- orange, red, and yellow- contrast against the cooler muted tones of the background, emphasizing the flowers’ fragility and deteriorating form. The drooping petals and irregular shapes suggest movement and deterioration, highlighting texture and decay. Her use of space and simplicity within the frame intensifies the flowers’ vulnerability and encourages the viewer to focus on their gradual decline. 

Technical

Marchbank appears to use natural light, likely from a window, which creates soft illumination and subtle shadows over the subject. The lighting isn’t direct; it is diffused, which produces a subtle tonal range rather than harsh contrast. A shallow depth of field is used, keeping the flowers in focus while the background becomes blurred, isolating the subject from its surroundings. The camera angle is slightly elevated, allowing the viewer to observe the texture of the arrangement clearly. The controlled focus and soft lighting create a calm and observational image.  

Contextual

This image is part of the Tulip Series, created by Celine during the final year of her mother’s life. The project documents flowers within a domestic setting; it reflects themes of loss, fragility, and the passage of time. Her work can also be connected to vanitas traditions, a genre of art historically used to symbolize the impermanence of life and the inevitability of death. By photographing flowers as they deteriorate, Marchbank references these historical ideas while presenting them within a contempory, personal context.   

Conceptual

Conceptually, the image explores the relationship between beauty, fragility, and mortality. The wilted flowers symbolize the impermanence of life and the inevitability of mortality. The domestic setting demonstrates how life cycles and loss occur in everyday environments. Rather than depicting death in a dark alarming way, Marchbank focuses on subtle visual changes, such as fading colours and withering petals. This visualizes the quiet progression of time and encourages viewers to reflect on death as something natural and inevitable.  

Write a Statement of Intent that clearly contextualise;

• What you want to explore?
• Why it matters to you?
• How you wish to develop your project?
• When and where you intend to begin your study?

Make sure you describe how you interpret the exam themes; ‘ORIGINS’, subject-matter, topic or issue you wish to explore, artists references/ inspirations and final outcome – zine, photobook, film, prints etc.

In my photography project I will aim to explore the theme of Origin, I have decided to focus on the Neolithic history and prehistoric heritage of Jersey, Channel Islands. I chose this theme because Jersey has some of the most significant prehistoric sites in the whole of Europe, this should hopefully allow me to confidently explore the origins of early human activity and settlement on the island. By photographing ancient tools and monuments, I aim to investigate how Neolithic people lived and how their mark is still significant in Jersey’s landscape today.

For my first photoshoot, I focused on stone tools and flint fragments discovered around La Cotte de St Brelade. This site is one of the most important prehistoric locations on the island believed to be an ancient hunting ground it has provided evidence of early human activity dating back thousands of years. In these photographs, I concentrated on close-up compositions that highlight the texture, sharp edges and craftsmanship of the flints, emphasising how early humans skilfully shaped natural materials into functional tools.

My second photoshoot explored prehistoric monuments such as dolmens, including structures like La Pouquelaye de Faldouet and the Neolithic passage grave at La Hougue Bie. These large stone burial monuments reflect the beliefs and rituals of Neolithic communities. In these images I experimented with wider compositions to show the scale of the stones within the surrounding environment, highlighting the connection between people, landscape and history.

Throughout this project I aim to capture time by showing how these ancient sites and artefacts have survived for thousands of years. I will continue to photograph prehistoric locations across Jersey and experiment with lighting and editing techniques such as black and white imagery to emphasise texture and age. Overall, my goal is to create a photographic series that visually communicates the origins of human life in Jersey and the lasting legacy of its Neolithic history.

I will use the website www.prehistoric.net to find all of my locations easily. The website also comes with a bit of a description about them

Fay Godwin

One photographer who has influenced my project is Fay Godwin, a British photographer known for documenting landscapes and historic sites across the United Kingdom. Godwin often photographed ancient locations/stone structures capturing the relationship in history of the land altered by human presence. Her work consistently explores how historical landmarks and prehistoric monuments exist within the natural environment.

Fay was born in Berlin. Her father was a British diplomat and her mother an American painter. She was educated at nine schools and, in the 1950s, after working for a travel company, she went into publishing. In 1961, she married Tony Godwin, of Penguin Books.

In her photographs Godwin commonly used black and white filters which emphasises the texture and structure of the landscape. This technique helps highlight the age and permanence of the historic sites, making ancient stones and monuments appear more dramatic and timeless. Her compositions often include wide landscapes with strong foreground elements, allowing viewers to see how historic structures are positioned within the surrounding land.

This approach is relevant to my project exploring the origins of human activity in Jersey, particularly when photographing prehistoric monuments such as the dolmens at La Pouquelaye de Faldouet and the passage grave at La Hougue Bie. Like Godwin, I aim to show how these ancient structures fit in with the landscape and how they have remained in place for thousands of years.Inspired by Godwin’s work, I plan to experiment with black and white editing, strong contrasts lights and darks and wide landscape compositions to truly show the scale and historical significance of Jersey’s Neolithic sites

The image focuses on a group of large standing stones arranged in a circular formation. These stones date back to the Neolithic time period and were likely used for ritual purposes however astronomical observation or just casual gatherings were also possible. The photograph emphasises the mystery and ancient origins of human civilisation, which links strongly to themes of heritage and the relationship between humans and the landscape.

Composition

Godwin uses a wide framing that allows multiple stones to be visible across the image. The tallest stone sits slightly off-centre, acting as a visual anchor that draws the viewer’s attention in first. The surrounding stones create a natural circular rhythm guiding the viewer’s eye around the image. The low camera angle makes the stones appear monumental and powerful, reinforcing their historical importance.

Lighting

The dramatic sky and strong contrast between light and shadow create a moody and atmospheric scene. The clouds appear heavy and textured, which adds tension and emphasises the harsh environment in which these stones have stood for thousands of years. The lighting highlights the rough surfaces of the stones, enhancing their texture and age.

Texture

Because the photograph is monochrome, the viewer focuses more on form and texture rather than colour. The weathered surfaces of the stones show erosion and time, symbolising endurance and the passage of history.

Context and Connection to Origins

Images like this explore humanity’s earliest attempts to shape the environment and create places of meaning. This relates well to my project about prehistoric cultures and origins in jersey as we have sites such as La Cotte de St Brelade, where early humans lived and used stone tools.

Overall the photograph creates a sense of timelessness and mystery. The stones stand strongly against the sky, encouraging the viewer to reflect on the origins of civilisation.

Emile Guiton

Who is he ?

Emile Guiton was born in Jersey in 1879.  He was a very active member of the Société Jersiaise – curator of the Museum, on the Executive Committee, joint honorary secretary, and editor of the Annual Bulletin. Guiton was a keen amateur photographer and practised throughout his long life.  He experimented with colour at the beginning of the twentieth century in “Autochromes”.  His subjects include the recording of archaeological excavations, and he was one of the few people in Jersey permitted to take photographs during the German Occupation of 1940 – 1945. Emile Guiton recognised the importance of collecting photographs early on, both as a valuable social historic resource and as interesting artefacts – examples of developments in science and technology.  He donated many images to the Société Jersiaise.  He died in 1972.

Examples of his work

Why did I decide to study him ?

I decided to study Emile Guiton because his work represents a significant and valuable part of Jersey’s cultural and historical heritage. His photography provides a deep visual record of the island’s past, capturing everyday life, landscapes, and social changes in a way not many other people have. Through his images, we are able to better understand how Jersey has evolved over time, making his work an essential resource for anyone interested in the island’s history.

Furthermore, studying a photographer from Jersey is particularly important for my work because it allows me to engage more deeply with local SSis. By focusing on Guiton’s work, I can explore how photography is used to document and interpret a specific place and then replicate that through my work. This not only strengthens my understanding of photographic practice but also helps me develop a more meaningful connection to these sites.

How am I going to replicate his work ?

I will replicate his work by going to a different SSI for each photoshoot and take photos in the style of Emile Guiton.

Image analysis

Technical – The lighting in this image is natural, likely with no extra artificial lighting. When Emile took this photo his aperture was most likely around f/8 or slightly higher, this is apparent because everything in focus so this suggests the smaller aperture, moreover it is not under exposed, so it is unlikely to be much higher than this. Furthermore, his shutter speed was most likely around 1/300, this is because there is no motion blur, so its unlikely to be much slower and everything is properly exposed so its probably not much faster. Finally, his ISO was probably around 200-300, this is because there is little grain in the image so it can be much higher and its properly exposed under a cloudy sky, so its unlikely to be lower.

Visual – This image has some strong visual features, first, there is a large tonal range as there is a few very dark parts, almost black, on the rocks, all the way to very bright parts, like the clouds. There is also different many different shades between, this makes for an image with a very strong tonal range. Next, this image strongly follows the rule of thirds, the foreground is the rocky beach in the bottom three, the subject, which is the cliff, is in the middle three and the sky is in the top three, this is a perfect example of rule of thirds. The rocky surface provides a very strong texture in the image, this prevents it from looking too ‘flat’ and gives the viewer a sense of connection to the image. I really like the composition in this image and the presence of negative space on the left of the cliff, this negative space of on the left and top of the cliff frame the cliff really well within the image. Finally, the hill in the background on the left acts very well as a leading line to the main subject, this draws the viewers eye inwards to the cliff itself.

Contextual/Conceptual – ‘La Cotte de Saint-Brelade. Emile Guiton, 1912‘

Steve Arcone

Who is he ?

Steve Arcone is a photographer, scientist and artist. He is known well for his macro and nature photography, he using his photography and blends it with science and geology. Some of his images include geology, ice formations and ‘abstract nature’, which often reveal patterns that and structures that are not obvious to the naked eye.

Steve Arcone grew up in Greenwich Village in New York City and went on to pursue a further education in engineering and geophysics. He has a degree from Cronell University and a PhD in Geophysical exploration from Dartmouth Collage. Before becoming a photographer, Steve Arcone worked as part of the U.S. Army Cold Regions Research and Engineering Laboratory studying ice and permafrost for 42 years, he then retired from this position in 2016 and and applied his scientific experience to photography.

Examples of his work

Why did I decide to study him ?

I decided to study Steve Arone because I like his scientific approach to photography and I think his style of photography will had good value to my final piece of work that I create.

How am I going to replicate his work ?

I will copy his work by taking landscapes in his style, I will use the beaches on the north coast as they are rocky and I can use that to effectively reproduce his work. I can also use Sites of Special Interest around Jersey as they have ancient buildings and rock formations that will be really effective for my photography.

Sites of Special Interest (SSIs)

SSIs are places that are considered to be of public importance because of their special zoological, ecological, botanical or geological interest, or a combination of these and other special qualities.

Image analysis

Technical – This images holds some very technical aspects. First, the type of lighting used for this would have been natural, day light, likely during mid day time. Steve Arcone camera settings would have been important to capturing this image properly, he would have used a small f/stop, likely f/8 or upwards, this is most probable due to everything being in focus and a very deep depth of field, furthermore it was mostly likely take on a standard lens at about 24~ mm focal length. Next, his shutter speed will have most likely been a fast one, something like 1/300-1/400, I know this because its not lower because there is no motion blur, he also mentioned he was flying when he took this photo so it defiantly can’t be lower, and it cant be much higher because the image is properly exposed. Finally Steve Arcone would have used an ISO of 100-200, this is the most likely setting because it does not need to be any higher as its a bright, sunny day. I can also tell there is very little grain in the image, meaning that it cant have been set high.

Visual – This image has a lot of interesting visual aspects. First off, there is a very good tonal and colour range within the image, there is blue in the sea, orange and brown in the mountains and white bits of snow, this wide range of colours makes it a very eye catching image for the viewer, there is also plenty of dark, under exposed parts, properly exposed parts and almost bleached out, over exposed areas. Next, the mountains in this image create a very good sense or texture and really makes the image seem 3D, this further contributes to how bold the photograph is. Finally the composition of this image is a very important factor of the image, this image clearly follows the rule of thirds, this is apparent because the valley and foreground are in the bottom to middle three of the image, the canyon then acts as a leading line which draws the viewers eye up the to the top three squares where the background and horizon are, containing the distant mountains, sea and sky.

Contextual/ Conceptual – “Abandoned Glacier Valley in Greenland: I took this photo along Greenland’s east coast while flying. Much sediment has been filling the valley.”