After my trip to the park on 29 April, I decided to try a different area in the park on Sunday 3 May. The location I chose to visit was between Hampton Wick Gate and Teddington Gate. I had to get to Hampton Wick that day in order to return a parcel so I thought it a good way to combine both tasks. My plan was to walk via the street to this destination then return through the park.
Unfortunately, by the time I arrived at the parcel drop off point, I had missed the cut-off time. This meant I had to carry an additional item with me, so it would make it slightly more awkward to manage my equipment. I had recently sourced and bought a suitable backpack that would make it easier and much more comfortable to walk with and carry my camera. Having to hold this bag was a small, but a significant issue that would have to be worked around. There was also the potential for me to put it down while I was taking photos and totally forgetting about it.
There were two other challenges on this day. Firstly, the light was very dull and flat. Secondly, despite the dreary conditions, the park was very busy, This meant taking the initial base and horizon line shot without people was almost impossible. I also wasn’t able to use the four-angle sets of shots that I tried on 29 April. Nevertheless, it was worth continuing with my plan to see what results could be achieved.
One major aspect was changing the image ratio from 2:3 to 16:9. This was to see how it changed the composition. As this project was like to be shown digitally, I thought it would be interesting to use a screen ratio instead of what I normally use.
These are the results:
Tree 1 – 3 May 2020
Tree 1a – 3 May 2020
Tree 2 – 3 May 2020
Tree 3 – 3 May 2020
Looking at these after processing, I realised that I Tree 2 and Tree 3 above were of the same tree, but two different sets of shots. One aspect of which to take note.
This is how the four complete images look side-by-side:
While in the park, I also caught this corvid couple.
After the class seminar on 29 April and having considered the feedback, I made a quick trip to Bushy Park to test out potential methods.
My first thoughts were to photograph a single tree using three double-exposure shots for the full height. I would then move around the tree and take a further set of three shots every 90 degrees.
This is the first tree I selected, the image was taken with my smartphone.
These were the resulting three images converted to Black & White from the first sequence of images shown separately with the gap,.
I then created an Adobe Photoshop file to see how the three images looked when aligned together.
Tree 1 Angle 1 – 29 April 2020
Tree 1 Angle 2 – 29 April 2020
Tree 1 Angle 3 – 29 April 2020
Tree 1 Angle 4 – 29 April 2020
I did take further shots of this tree and one other on that day. I am currently going through these images to see what works and what doesn’t and will post my findings when they are ready.
Tree 2 Angle 1 – 29 April 2020
Tree 2 Angle 2 – 29 April 2020
Tree 2 Angle 3 – 29 April 2020
Tree 2 Angle 4 – 29 April 2020
I have also grouped the different views of each tree to see how they look together.
After four weeks of spring break, the class and tutors had an online seminar from 10am to 1pm.
During the seminar myself and my fellow students presented the results of their projects so far and discussed the contextualisation of our projects. This was both specifically in relation to relevant photographic issues and debates (both contemporary and historical) and in relation to fields outside of photography. Each of us also explained how their chosen references had informed their projects and helped to propel it forwards.
This was a very positive session and great to see everybody’s work and get a better understanding of the ethos and concepts behind it. It was also a relief to get some feedback from my contemporaries and tutors. Having worked in my own ‘bubble’ for since 31 March, it was affirming that my work wasn’t in vain and I was on the right track.
To help further my research, the following areas of research and experimentation were suggested and I will be exploring these further:
Subject Matter
With regard to what I presented, the images and concepts that elicited the best and strongest response was that of the multiple exposure shots of the trees.
These, combined with the references I also presented, were confirmed to be a solid foundation from which to expand my research and experimentation.
Technically, I knew I then had to refine my approach in both taking the images and the editing process. The images need to be captured with a more sophisticated and polished methodology and approach. For example, using a tripod rather than taking shots ‘freehand’. I also need to investigate and make the most of my camera’s multiple-exposure mode.
Other areas of expansion were:
Simon Roberts
Fergus (module tutor) suggested looking at the work of the artist-photographer, Simon Roberts (https://www.simoncroberts.com/). Roberts had an exhibition at Pallant House in Chichester from 29 June to 13 October 2019.
Called ‘Inscapes’, this is a series of photographic, video and sound-based landscape studies that questions how connected are we to our local landscapes and how can an essence of a place be captured? There was more to explore online through the Pallant House’s website: https://pallant.org.uk/whats-on/simon-roberts-inscapes/.
There was a particular journal piece recommended by both Fergus and Sofia: The Magic in the Mundane. I made a note that it was available on both the University of Brighton online library and on the Tate website, but couldn’t initially find it. At the time of writing, I sent an email to the group to see if they could point me in the right direction.
The Camden Group
Another reference was The Camden Group who introduced Post-Impressionism to Britain, inspired by the work of van Gough and Gaugin on the continent. According to Sofia, the painters in this group used to regularly go to the local London parks and paint. Apprently, one of these individual’s demise was through tuberculosis from being out in the rain while doing so.
Another artist reference recommended by Fergus was Helen Sear: https://www.helensear.com/. After looking at Sear’s website, I realised that I had seen her work before. It is very beautiful and some images are absolutely exquisite. I will be researching Sear’s work and methodology further to see how it resonates and can inform my own practice.
Martin Seeds
Again, this was another photographer recommended by Fergus and, again, another photographer whose work I was previously aware.
One element of the tree grids that was brought up was removing the ‘white space’ between the connecting images and presenting them as ‘flush’. Abi suggested looking at Tacita Dean’s work, Majesty.
In addition, I will be looking at Dean’s work with regards to trees and the way she presents large-scale pieces. This was marked as a research source before the seminar and on my list of ‘things-to-do’.
Robert Smithson – Incidents of Mirror
This name and work were also mentioned by Fergus. On first glimpse, it again seemed very relevant and I will look into this in more detail.
In addition to not having spaces between the individual images, their final size came into question. Xavier mentioned the possible issues of having large single images printed. I know from both research and experience that with the quality of RAW and the resulting TIFF files for printing these images will be of high resolution. At 6000 x 4000 pixels, this means a single printed image could be 20″ x 13.3″ if printed at 300 dpi. I also know that a high quality image can be printed at a lower resolution (around 240dpi), which would mean an image printed at 25″ x 16.6″.
There are also other print methods that can produce work on a large scale without losing integrity and I will have to check with my go-to print bureaus to see what is (and/or isn’t) possible. I will also have to research various printing substrates and framing/hanging options with both price and practicality in mind.
Content and Composition
A very pertinent observation of Fergus is how, although the individual images of the tree are shot in ‘landscape’, when combined they create a ‘portrait’ composition. This lead to the direction of tree portraits. This line of enquiry and research could bring into question how is an individual tree portrayed through the conventions of portrait photography rather than those of landscape. At this stage in the project, further exploration and experimentation is essential.
Books
Xavier recommended How Forests Think: Toward an Anthropology Beyond The Human by Edward Kohn. I ordered the book on 29 April and waiting for its arrival at the time of writing this post.
This book explores the concept of the tree as a non-human sentient being – something I believe in myself. It will be interesting to see how Kohn approaches this subject.
The other book I need to read in more detail is The Hidden Life of Trees by Peter Wohlleben. I originally discovered this tome when it was first published in 2016 and have had the intention to read it since. Luckily, my flatmate ordered a copy after I told him about it, so I have no excuse not to, now!
Paper
The final reference I was given was the paper The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan by Margaret Iversen. This was thought to be of use by Fergus and Sofia. I downloaded and printed this paper with the intention of reading it in relation to this project.
The Discourse of Perspective in the Twentieth Century: Panofsky, Damisch, Lacan
Author(s): Margaret Iversen
Source: Oxford Art Journal, Vol. 28, No. 2 (2005), pp. 193-202
Published by: Oxford University Press
Stable URL: https://www.jstor.org/stable/4500016
As I knew it would be, this seminar and the resulting information was an essential and inspiring part of the process. I was very appreciative of every snippet shared and felt more informed and confident in how everything was progressing.
Currently being written in preparation for 28 April 2020!
A further task for the seminar on 28 April 2020 was to give special emphasis to a reference I had selected, the Among The Trees exhibition. This reference would be then discussed among the group during the seminar with regards to my project.
For this task, I had to choose between two options to complete it. The choice was between conducting a short interview/conversation with someone who is in some way connected to this reference and writing a short (400-500 word) reflective review of this exhibition.
This reflective review could also be of resources related to the reference, including:
gallery talks
interviews
an article
online conversations/talks/events
For this task, I chose the latter. As I wasn’t able to visit this in person, I used the available online resources to write the following. Fortunately, on the website was a virtual tour of the exhibition presented and narrated by Ralph Rugof – Director, Hayward Gallery.
During this virtual tour, Rugof explains how the interlacing network of branches
The interlacing network of branches,
Among The Trees was held in the Hayward Gallery at the Southbank Centre in London from 4 March to 17 May 2020. It was one of the exhibitions that I had scheduled to visit, but this was now impossible due to the government restrictions due to the COVID-19 pandemic.
The overarching concept of this exhibition was to explore humanity’s relationship with trees and forests. According to the exhibition’s website page, Among The Trees:
Transports us around the world – from Colombian rainforests and remote Japanese islands to olive orchards in Israel and a 9,550-year-old spruce in Sweden. By drawing attention to the beauty, scale and complexity of trees and forests, the 38 artists in this exhibition turn our vision of the natural world on its head, inviting us to see it with new eyes.
Whether exploring the way that trees – with lifespans much longer than our own – challenge how we think about time, or revealing how they are intimately entangled with human affairs, these artists enliven and expand our appreciation of these remarkable organisms.
The artists whose work was being exhibited were:
Robert Adams, Eija-Liisa Ahtila, Yto Barrada, Johanna Calle, Gillian Carnegie, Tacita Dean, Peter Doig, Jimmie Durham, Kirsten Everberg, Anya Gallaccio, Simryn Gill, Rodney Graham, Shi Guowei, Hugh Hayden, Eva Jospin, Kazuo Kadonaga, William Kentridge, Toba Khedoori, Luisa Lambri, Myoung Ho Lee, Zoe Leonard, Robert Longo, Sally Mann, Steve McQueen, Jean-Luc Mylayne, Mariele Neudecker, Virginia Overton, Roxy Paine, Giuseppe Penone, Abel Rodríguez, Ugo Rondinone, George Shaw, Robert Smithson, Jennifer Steinkamp, Thomas Struth, Rachel Sussman, Pascale Marthine Tayou, Jeff Wall.
As I’ve written in a previous post, I have already seen the work of Ugo Rondione. This was the sculpture cast from a 2,000-year-old olive tree.
This is how it looks within the gallery setting (taken from the exhibition’s website).
While
4 MAR – 17 MAY 2020
By turns poetic, adventurous and thought-provoking, this group exhibition explores our relationship with trees and forests.
Alongside sculptures and installations, drawings, paintings and photographs, there are artworks that celebrate the soaring scale of trees. These include a monumental sculpture cast from a 2,000-year-old olive tree by Ugo Rondinone; a cinematic portrait of a 30-metre-high spruce tree by Eija-Liisa Ahtila; and a vast forest of trees constructed entirely from cardboard by Eva Jospin.
At a time when the destruction of the world’s forests is accelerating at a record pace, Among the Trees vividly highlights the indispensable role that trees play in our lives and imaginations.
Featured artists
R
The exhibition is kindly supported by the Swiss Arts Council Pro Helvetia.
In this short video, Hayward Gallery Curatorial Assistant Marie-Charlotte Carrier explores one of the themes of our Among the Trees exhibition – the way that trees, with lifespans so much longer than our own, challenge the way that we think about time, and put our human lives in perspective.
Trees have this really special way of making us feel small. They make us realise how short lived we are as a species, compared to these giants who have been on this earth for thousands and thousands of years. They create a different sense of time.
The third and final reference I had to present and discuss during this seminar had to be outside of the realm of art and photography. The reference I chose for this task was the perfume bottle that inspired the title for this project: Moments of Eternity.
On 29 March 2020, I wrote a related post which explains why this object is integral to my project.
The second task I had to complete for the seminar on 28 April was to bring a historical reference within the field of photography/art. Again, this was to assist in discussing the contextualisation of my project and in relation to photographic issues and debates.
Again, I had to present this reference to the group and explain how this historical reference has informed my project so far and have helped propel it forwards.
The historical reference I chose for this task was the Victoria & Albert Museum’s (V&A) exhibition, Into The Woods. This was held at the museum from 18 November 2017 to 22 April 2018 and was the first display of photography after the refurbishment of the gallery dedicated to the medium.
Trees were among the first photographic subjects collected by the V&A as a learning resource for artists and designers. The museum has acquired, and continues to do so, ‘photographs of trees in various contexts: within landscapes and forests, as lone subjects, in relationship to humans, in rural and urban settings, and as symbols of cultural significance.’ (V&A · Into the Woods – about the display, 2020)
The display explored the diverse representation of trees in photography, with works by 40 photographers, including Paul Strand, Robert Adams and Henri Cartier-Bresson. There were many images that were just sublime in their portrayal of trees. Many of these I realise now are pertinent to my current project. The following is a combination of the notes I made after visiting this exhibition in 2017 and my new observations.
Tokihiro Sato (B. 1957) – Hakkoda #2 (2009)
The first work I encountered when entering the gallery was a piece by Japanese photographer Tokihiro Sato.
In this work from 2009, Sato created the bright spots in the image by using a mirror to reflect the sun’s rays back into the camera during a long exposure. Sato’s intention behind this image was to represent the ancient origins of the Japanese people, representing both masculine strength and female sensitivity.’ (Hakkoda #2 | Sato, Tokihiro | V&A Search the Collections, 2020)
Alvin Coburn Langdon (1882 – 1966) – City Hall New York (1912)
This night-time image of an urban tree uses the New York electric street lighting to great effect. With the trees in silhouette against the glow, the lights in the windows beyond are like illuminated leaves. In comparison with Sato’s image above, the use of light within the image again gives the tree an ethereal and magical appearance.
Ansel Adams (1902 – 1984) – Aspens, North Colorado 1958)
For me, this image has both a beautiful simplicity and sublime use of lighting and tones. Having revisited it for this task, it was a prompt to explore this aspect further with my own images. There is a real feeling of delicacy captured and I made a note to apply this deft touch to my own work.
Bae Bien-U (B. 1960) – SNM-012H (2014)
Bien-U’s specific interest in pine forests stems from his quest for a Korean identity as an artist in a post-war, dictatorial period. For him, the pine tree embodies the same qualities that characterise Korean people: ‘eagerness, perseverance through years of conflict, and spirituality’.
This piece is part of Bien-U’s Sonamu’ (Pine Tree) series, which the V&A outlines in the following:
The pine tree is an age-old subject that carries various meanings in Korea. During the Joseon Dynasty (1391-1910), it was associated with literati culture, epitomising dignity, integrity, and longevity. Its trunk was used to build palaces and temples, its branches to decorate the house of a new-born, its needles, bark and pollen to prepare ceremonial dishes, and its ashes to make ink cakes. In the Three Kingdoms period (57BC-668), the pine tree was believed to be a divine being accompanying the soul of the deceased to heaven, or a messenger delivering one’s wishes to the gods. The departed was therefore buried in a pinewood coffin, and pine trees were planted nearby the tomb.
The trees, for me, in Bushy Park have become part of my own existence. I have become aware of starting to recognise particular ‘characters’ These ‘individuals’ may not be as culturally significant as those pines in Korea, but I feel their presence in my own existence.
Benjamin Brecknell Turner (1815-1894) – Causeway, Head of the Lake, Loseley Park (1852-4)
Causeway, Head of the Lake, Loseley Park (1852-4) Negative
Causeway, Head of the Lake, Loseley Park (1852-4) Positive
Further images which I realise now were influential my current project were these by Benjamin Brecknell Turner. Turner began practising photography in 1848 using the ‘calotype’ or paper negative process patented by William Henry Fox Talbot. When I saw Turner’s photographic impression of the Lime Trees in Loseley Park, the negative and its corresponding positive print were shown together. By comparing these two versions of the same science, this reveals the dynamic patterns, including those of the branches. This influence is evident in my own reversal of black and white in my recent images of the trees of Busy Park.
Denis Brihat (B. 1928) – Cherry Tree in Blossom (1985)
Brihat’s capture of this Cherry Tree is an example of this photographer’s intense engagement with nature and an example of his experimentation since the late 1960s with mordançage. This is a photographic process using metal toning and etching techniques that give the original image a shimmering appearance. Again the aspect of the image reacting with environmental light is something that I have been exploring over the last five years.
Edward J Steichen (1879- 1973) – The Pool 1899
Edward J Steichen The Pool 1
Edward J Steichen The Pool 2
The plaque accompanying this image in the gallery stated:
With soft focus and fine printing, Steichen was able to transform this muddy woodland scene into a haunting tonal study almost like a musical composition. One version was subtitled ‘A Symphony to a Race and to a Soul’. Twilight and water merge the real world with its darkening reflection.’
According to the additional information for this image provided on the by the V&A website states ‘The out-of-focus style of the photograph is typical of Steichen’s early work and representative of the suggestive, rather than literal, quality of Photo-Secessionist photography.’ What I discovered when researching these images on the V&A website is that each one has a related webpage and PDF outlining all the relevant details. An essential and most-welcome resource.
Jerry Uelsmann (B. 1934) – Untitled (1969)
Copyright – Victoria & Albert Museum
Uelsmann created this image in the darkroom using multiple negatives to make his prints. This innovative photographer is notorious for his surreal compositions and fantasy scenes that often incorporate trees. This use of multiple exposure exchoes my attempts to achieve a similar effect digitally.
Sophy Rickett (B. 1970) – Playing Fields (1995)
Rickett used a panoramic line of four separate photographs. According to the details on the V&A website:
The focus of the atmospheric nocturnal landscape lies beyond the line of trees, obscured from view. The source of the bright light is unknown and a touch unnerving. An expanse of black that fills the middle ground becomes an illusory, unfathomable space, heavy with the ambiguity of landscapes at night and the imagined sound of wind in the foliage.
When revisiting this series, I saw the similarity with my recent concept of having the selected images from an interval timer sequence and the multiple-exposure shots of the trees.
Abbas Kiarostami (1940-2016) – Untitled (1978-2003)
This silver-gelatin print is one of the series that Kiarostami took during long, solitary walks which allowed this filmmaker and photographer to become immersed in nature. According to the additional information on this series, the images:
Reveal the concentrated vision of the artist exploring the repeated motif of trees in snow. Shadows and snowdrifts contribute to the breakdown of a sense of scale and perspective. An atmosphere of solitude and meditation is evoked. The images become the equivalent of emotional states and the trees almost human, echoing the saying of the Islamic mystic Muhyiddin Ibn ‘Arabi (born 1165 – died 1240): ‘the tree is the sister of man’.
This is reminiscent of my own long, solitary walks through Bushy Park which enabled me to become immersed in nature.
What I found reassuring when revisiting this exhibition is that I am not alone with my own tree obsession. These intriguing and multiple subjects are worthy of photographic study and each and every photographer can bring their own particular interpretation of these beautiful beings.
During the scheduled session for 28 April, I had to discuss the contextualisation of my project, both specifically in relation to relevant photographic issues and debates (both contemporary and historical) and in relation to fields outside of photography.
To prepare for this session and the purposes of discussion, I had to complete three tasks. This involved bringing a triple set of references that I felt was integral to my own work.
The first of these references had to be a contemporary one within the field of photography/art. For this task, I chose the exhibition, Among The Trees. This was being shown at the Hayward Gallery at the Southbank Centre, London from 4 March to 17 May 2020.
Unfortunately, I was unable to go to the exhibition itself while it was on. Fortunately, there was a whole wealth of information on the Southbank Centre’s website that I could refer to. This included virtual tours, interviews with artists, and podcasts. I also ordered the exhibition catalogue and was waiting for it to be delivered at the time of writing this post. The expected arrival date was between 2 and 6 May 2020.
During the session, I had to be prepared to present this contemporary reference to the group. I also had to explain how Among The Trees had informed my project so far and helped to propel it forwards.
A further task was to give special emphasis to one of the three references and I have selected Among The Trees for this purpose. I had two choices in how to do this. The first choice was to conduct a short interview/conversation with someone who is in some way connected to Among The Trees. The second choice was to write a short (400-500 word) reflective review of an exhibition, gallery-talk, interview, film, novel, article, online conversation/talk/event, etc. related to this contemporary reference for the purposes of discussion amongst the group.
I chose the latter option, the result of which can be read here:
On Saturday 25 April I received the prints from DS Colour Labs.
This is a selection:
As I’ve discovered over the last four years, it’s very helpful to layout prints on my living room floor to work out which images work both individually and in combinations.
Having looked at the individual prints, I started to make the following sets:
From what I saw, there were combinations that worked together better than others. What I needed to do at this stage was show these and discuss both the images and their contextualisation with by classmates and tutors on 28 April 2020.
With a large number of images captured and a strong concept in place, it was time to get some of these printed. Having checked online, I was relieved to see that my ‘go-to’ print bureau, DS Colour Labs, was taking orders. This bureau is my first choice when I need a batch of test prints. The prices are very reasonable, the prints are of a professional standard and they have a swift turnaround.
On DS Colour Labs’ website, they stated that they had closed their retail store and production unit on 24 March due to the current government restrictions. They had to have some time to discuss how/if they could continue to operate safely within the government guidelines, while still providing a service to their customers. Fortunately, they made the decision to reopen their production facility on Thursday 26 March with limited operating hours. It was reassuring to know that the safety of their staff and the photographic community is paramount.
DS Colour Labs were following official advice and they were taking every necessary precaution. These measures included operating as a one/two-person team (Managing Director and Production Manager) to ensure social distancing, not using public transport to travel to and from the workplace and keeping strict hygiene practices at all times. As a result, they were able to keep a basic level of production running in the print lab (Standard Photographic Prints up to 18″x12″). Any customer service inquiries were to carried out via email only, which cannot be done remotely.
Reassured that they were keeping safe in this difficult time, I spent 22 April going through images, referring to my blog posts then editing and preparing images to print. I decided to go for 12″ x 8″ lustre C-Type prints – this size is big enough to see details and how images work together. This also helps control costs as they are 65p (inc. VAT) each. I chose lustre as I prefer this finish to the shiny gloss surface.
Having gone through the images, I grouped them in the following formations and either edited the original colour version or converted them to Black & White.
I also made the decision to call the following double-exposure sun images ‘Lost Horizons’. This was due to these being the last images I took of this view in Brighton before lockdown and the massive shift in the world as we knew it. It also resonates as being the unsure future we were experiencing at that time.
I also tried these two images in Black & White.
I then chose the following images from Bushy Park taken on 6 March before the lockdown was confirmed. Again, double-exposures with a similar tone to the images above. These would also come under the Lost Horizons category. It was like looking at a world about to change with no certainty to what was actually occurring.
While writing this post, I also noted the following combination.
The next images for print were taken on 16 and 20 March. Still before lockdown, but there was a feeling of the inevitable blocks on the horizon.
These two images would be grouped with this set taken on 20 March. An allegory of a blocked path with no clear direction.
The following images would come under the main title of ‘Moments of Eternity.’ These were taken after the lockdown started on 23 March and represent that experience of feeling that this situation will last forever.
The first set of images under this title were from the interval-timer shoots taken in my garden during my period of self-isolation. My initial intention for these images was to use them as a time-lapse piece. However, since I started experimenting with the grids, I wanted to try using the format with the images from these sessions. I took nine images from each of the sequences. The first one I’ve called ‘Moon’ was a total of 281 shots, so I selected one every 30 images to create this grid.
The second grid is called ‘Tree’, which was a total of 715 shots. As such, the nine images of the grid would be from one every 80 shots.
Having looked at the images set out on this blog post, I wasn’t sure if it would work with the selection I had chosen. I made a note to keep this in mind once I received the prints. One consideration is combining the two sequences together and selecting a sequential grid from the total images.
Next, I edited a selection of the portrait shots taken on 31 March of the window reflection. These were a result of the feedback received on the same day during the online tutorial.
My final selection for editing and printing was the images taken in Bushy Park after my period of self-isolation ended. Again, these would come under the title ‘Moments of Eternity’. These were inspired by an altered view and perception of the world post-23 March 2020 and the Zoom grid.
After writing this post, it dawned on me as to how productive I had been during this bizarre time. Having the time and energy to focus on my work combined with being able to rest and process what I was doing definitely had its benefits.
The next step in the process was to wait for the prints to arrive then discuss these and my concept with my class. I also had to revisit my initial inspirations and references then prepare for the next online tutorial on 28 April,
Jennie Meadows MA Photography 