For this exercise I needed to take a number of shots using leading lines to create a sense of depth. This is actually something I take into consideration no matter what I’m shooting, as I think a sense of direction is important to add movement and assertion to the frame.
I liked solid and leading lines in my images, I like the intent of the image to be on display immediately. Capturing landscapes is a fantastic way to communicate this sort of visual language. It’s usually the solid shapes that create a sort of visual silhouette. Starting in the morning, I decided to drive out to a lake a few miles out from my house to take advantage of some of the wintry mist that had been active throughout Sheffield for a few days.
The whole concept behind this image is to let each defining line represent another layer of perspective. Part of me wanted to remove the wooden sticks in the water, I later decided against it as it gives the viewer a sense of scale when compared to the almost menacing looking trees poking out from the mist beyond the lake. I didn’t really find this image too intriguing as i’d seen it done multiple times before by different artists and photographers to convey the same message.
I liked this image, it reminded me of Bladerunner 2049 with the almost monolithic Pylon staring down at the viewer – it was indeed huge, the mist also helped convey the overall scale of it as well. The main reason I decided against this image was simply due to the fact I don’t think it really displayed my skills as a conceptual photographer. I wanted to execute the brief to the best of my abilities.
This was the one. Later that night I saw the fog had drawn in again, I immediately jumped in the car and started scouting for shots. I needed to strengthen the lines in the image to convey a sense of scale, but also visual depth. I think this image managed to achieve everything I didn’t previously. The pyramid shaped rays beaming down on the empty street had the most amazing effect on the fog. I set the camera facing down the street on the right hand side of the road, this was simply due to the fact I wanted the entirety of the image to be based within a right-angled triangular shroud to match the pyramid shaped beams sent down by the lamp posts. Putting the road off to one side keeps the subject matter compact and insulated, it also submerges the photo in complete darkness. I wanted the viewer to peer into the image as if it were almost Video-Game like.